You can not select more than 25 topics
Topics must start with a letter or number, can include dashes ('-') and can be up to 35 characters long.
1 lines
5.0 MiB
1 lines
5.0 MiB
{"Age": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "yet": [{"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "horribly": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "major": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}], "sewing": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "copies": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "kullbingen": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "creative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "facade": [{"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}], "trace": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "stand-alone": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "punk": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "tens": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "products": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "FL": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "pz": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "tangibility": [{"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}], "interior": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "19": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Moving": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "disappearance": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "expression": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "Guðmundur": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "stated": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "interact": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "determined": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "Chill": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Better": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "references": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Grinder": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "said": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Novalis": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "exact": [{"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "performing": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "honest": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "Cowboy": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Friends": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Plus": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "TV": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Noordt": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "k": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "read": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}], "James": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "goal": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "desire": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "run": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "layers": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "official": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "planning": [{"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "amount": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "bookbinding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "telephone": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "Verge": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "speak": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}], "John": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "stereotypical": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "shape": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "enabled": [{"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "announcement": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "four": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}], "repetition": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "ut": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Earth": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "surrealist": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "entitled": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "Stefani": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "footwork": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "astonished": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Tiesto": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "tapestry": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "wailing": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "1943": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Corner": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "busy": [{"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "Steal": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "parameters": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "Bologna": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "deeply": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "dirty": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}], "online": [{"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "listen": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}], "ran": [{"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "adventurous": [{"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "widely": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "music": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "metres": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "DOB094": [{"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "facets": [{"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}], "an": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Every": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}], "chronology": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "systems": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "34": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "move": [{"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}], "utilises": [{"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "sorts": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "cantorum": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "CRT": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "undertakes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "questions": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "These questions are really haunting me ."}], "outsourcing": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "walls": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Well": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "unchanged": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Know": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "features": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "accessibility": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "Yourself": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "lives": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "What": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "What shifts happened in the past?"}], "will": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Ayo": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "person": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "09": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "name": [{"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "direction": [{"id": "06", "sentence": ", that I went in that direction."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "Bank": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Review": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "Conlon": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "expert": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "drinks": [{"id": "31", "sentence": "Good food and drinks were served."}], "found": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "almost": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "DOUGLAS": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Can": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "receiving": [{"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "sharing": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "got": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "a": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement..."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "worlds": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "plagiarise": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "fly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}], "finest": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "quickly": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "grey": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "environmental": [{"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "War": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Focusing": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}], "Void": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "Moana": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "finding": [{"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "familiar": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "Gert-Jan": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "smart": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "giving": [{"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "endless": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "bridge": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "days": [{"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "argentite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "actors": [{"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "truck": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "let": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}], "grandmother": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "editions": [{"id": "05", "sentence": "The making of editions can be understood in this context."}], "Our": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "Jamie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Keane": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "trying": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "structure": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "Whole": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "asteroid": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "micro": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "began": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "various": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "micro-capacitors": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "Acts": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "vibratory": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "Spoon": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "what": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "cassette": [{"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "manage": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "27", "sentence": "It is important for companies to manage this."}], "tuning": [{"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "age": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "overlaps": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "dubplate": [{"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}], "Curvy": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Aurélie": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "shift": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "fell": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Carl": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "Jason": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "IRREGULAR": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "logistically": [{"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}], "fast-paced": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "aimed": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}], "down": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "promise": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "challenged": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "covers": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "guest": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "articulate": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "researcher": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "Center": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "Economy": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}], "monster": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "demonstrating": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "perhaps": [{"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "remind": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "only": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "examine": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "Communication": [{"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}], "Erik": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "2018": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "focal": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "disciplines": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "navigating": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "huge": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Churyumov": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Will": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "decorative": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "twenty-five": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "commodity": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "exhibition": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "website": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "PRESENTATION": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "identity": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}], "physically": [{"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "interweaving": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "disturb": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "perspex": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "articulators": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "parallelling": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}], "Remco": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "Sun": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "Where": [{"id": "27", "sentence": "Where does mining stop?"}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "displays": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Guide": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "curating": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "PUSHING": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}], "Candyman": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Theories": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Wales": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "windows": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "had": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "yodel": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "incentive": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "performs": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "Wiesbaden": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "variable": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "artificial": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "Press": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "travelled": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "tantalite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "quotes": [{"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "hanging": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "Sevenfold": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Charts": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "1973": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Breaking": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "flawed": [{"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}], "physics": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "viewer": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Buma": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "scarcely": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "iconic": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "volume": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "2014": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "parts": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "The work consists of two parts: 1."}], "its": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "highlights": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Touhou": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "J": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "setups": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "Gris": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "Suede": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "materials": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "earth": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "linked": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "explored": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "institutions": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "settle": [{"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "Wars": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "count": [{"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}], "feedback": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "them": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Council": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "freelance": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "developed": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Holiday": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "space": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "engraved": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "Stadslimiet": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}], "viewed": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "sign": [{"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}], "multidisciplinary": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}], "stages": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "Cars": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "converted": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}], "Sonifier": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "propensity": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "cover": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "showed": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "Filo": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "transport": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "pirate": [{"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Analogue": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "European": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Live": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "solfège": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "s": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "creation": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "noise": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "NET": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "counterpart": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "Dr": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "assemble": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Greatest": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "Festival": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "More": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "perception": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}], "went": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "Battle": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "five": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}], "Transylvania": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "containing": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "installations": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "described": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "24", "sentence": "His work is described as conceptual music."}], "science": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "shorter": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}], "vanBasco": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Scottish": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Catch": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Buckminster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "digitalcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "Marc": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "Wall": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "MAX": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Sydney": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "thirty-three": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "JUSTIN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}], "box": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}], "Presley": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "instrumentalise": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "California-based": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "inspiration": [{"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "Tata": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "third": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "second": [{"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "seemed": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}], "vitality": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "attract": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "switches": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "title": [{"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}], "break": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "co-curator": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "Mind": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "cause": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "Italian": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Drama": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "Minogue": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "effectively": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "TheTrustedComputer": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "filtered": [{"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "everyday": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "hardware": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "Kylie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Q": [{"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}], "vanished": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "unceremoniously": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "programs": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "tune": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "whatever": [{"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "fields": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "Evelin": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "microphones": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "role": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "decade": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "give": [{"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "Mellotron": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "Explorer": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "rigorous": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "drawing": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "pitches": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "Ore": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "flat-on-your-ass": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Lily": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "He": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Nicolas": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "interested": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}], "Dark": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "initiative": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "anybody": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "DUPAC": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Second": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Simpson": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Acrylic": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "dance": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "soundtracks": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "Freiburg": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "interdisciplinary": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "occasionally": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "pretty": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "focusing": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "driver": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Ping": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "deconstruct": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "refer": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}], "eight-hour": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "engage": [{"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "evolutionary": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "flapping": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "MIDITrail": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "definitely": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}], "MIDIPlayer": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "written": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "Tin": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Mal": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "participated": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "paper": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "tutor": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "coded": [{"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "Dave": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Get": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "Nguyen": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "more": [{"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "3D": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "organisations": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}], "unable": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "67P": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "witchcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "compositions": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Liar": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "analytical": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "thought": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Sagamihara": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "annunciatory": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "needed": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}], "deep": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "scales": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "compose": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "commission": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "intended": [{"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "German": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "wanted": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "curious": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "actual": [{"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "01": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "performative": [{"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "Remörk": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}], "resolutely": [{"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "synth": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}], "Eyes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Guedes": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Aksiom": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "1970s": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "phone": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "together": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "speaker": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "pioneering": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "tend": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "station": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "driving": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Charlotte": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "they": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "hypnotising": [{"id": "07", "sentence": "It's strangely hypnotising."}], "few": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "Pushing": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "Represent": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "locations": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "V2": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Perfect": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "February": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "sphere": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "Basically": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "history": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "Designed": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "roughly": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "teetered": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "intrigued": [{"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "unfortunately": [{"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "intuition": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}], "Ray": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Frith": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "interrupted": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}], "shortwave": [{"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "best": [{"id": "01", "sentence": "His best ones."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "shifts": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "What shifts happened in the past?"}], "ethical": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "with": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Knierzinger": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "heart": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "fresh": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "Pi": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "weekend": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "evidenced": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "beat": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "periods": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}], "ILDA": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Counting": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Calabria": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Innovation": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "expressions": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Zee": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "shuffled": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Use": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "delivered": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "underneath": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "impressive": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "humming": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "bound": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "evokes": [{"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "teacher": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "forget": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "block": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}], "proposes": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Te": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "periodic": [{"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "Following": [{"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}], "coding": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}], "lot": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}], "office": [{"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "GUEDES": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Calm": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "festival": [{"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}], "Copperman": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "broken": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "responds": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "loparite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "younger": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "snow": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "Moment": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "interests": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}], "mine": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "critical": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "typography": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "mode": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "interpretations": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "feminist": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "loosen": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}], "soundproofing": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "mortals": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "spectators": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}], "Vanessa": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Magnetic": [{"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}], "monazite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Also": [{"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "modifying": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "schematics": [{"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "interpreted": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "discussions": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "arachnids": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "come": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "portable": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "computer": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "workshops": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "sits": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "Bergmark": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "menace": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "job": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "emancipate": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "technique": [{"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}], "Wrote": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "thanks": [{"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Cobra": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "instructed": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "linear": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "Break": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Peri": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "unusable": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "facility": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "me": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Arnhem": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "involvement": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Sugar": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "purchased": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "Giovanelli": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "RenÃ": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "annual": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "Let": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "animated": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "regard": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "drug": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Andy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Though": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "insufficient": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "great": [{"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "software": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "how": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "visits": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "artistry": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "Moog": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "inspiring": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "compressed": [{"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "one-note": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "researching": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "number": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "produkt": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "video": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "basements": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "levels": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}], "attention": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "boom": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "last": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "below": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "final": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "tried-and-failed": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "categories": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "undermined": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "railway": [{"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "intertwined": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "sonification": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "beamer": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "Stereolab": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "remains": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "Aalto": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "black": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "mailed": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "sell": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "window": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "logic": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "survival": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "Richards": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}], "Far": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "objects": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "progeny": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "audio": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "misdirected": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Enter": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "At": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "product": [{"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "dystopian": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "Tantalum": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "actively": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "cracking": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "theoreticians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "Hamburg": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "failure": [{"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "trapped": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "synthesis": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "teaching": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "untouched": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "configurations": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "audio-driven": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Efron": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "desired": [{"id": "27", "sentence": "All to get to the desired result: The gold!"}], "Al2O3": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "differing": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "Jacques": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Sozzi": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "flip-flop": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "show": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Uijlenhoet": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "Schematics": [{"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}], "Listening": [{"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}], "Orchestra": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "footage": [{"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "focuses": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "extra": [{"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "primarily": [{"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "Sandin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "Luxembourg": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "imaginary": [{"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "TETRA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "decades": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "equipment": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "commercial": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "complementary": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "corresponded": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "Were": [{"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}], "soundtrack": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "twenty-first": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Reich": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "communicated": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "bastnäsite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "neumens": [{"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "harsh": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "learnt": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "small": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Brian": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "behavior": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "chapter": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "overthink": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "editing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "situations": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "shooter": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "arpeggios": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "data": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "Oh": [{"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}], "Aid": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "registers": [{"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "consumer": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "Alarm": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "assisting": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "smooth": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "taught": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "flaws": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "websites": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "apartment": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Cent": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "metaphor": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "file": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "static": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Ending": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "formal": [{"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "arrives": [{"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "DAAD": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "smaller": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "contained": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "nevertheless": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}], "1500": [{"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "bullets": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "tactility": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "landscape": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "built": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "technological": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "led": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}], "Whitney": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "earning": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "ROTTERDAM": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "however": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "study": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "spun": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Kiem": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "apparatus": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "surroundings": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Michael": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "relation": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "archaeology": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "hurry-curdy": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "piece": [{"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "transmission": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "players": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "representatives": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "develops": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Britton": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "than": [{"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "seminar": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "experienced": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Good": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "31", "sentence": "Good food and drinks were served."}], "reciprocity": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}], "1979": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "before": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "pure": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Emma": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "big": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}], "situation": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "audible": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "guess": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}], "art": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "baleful": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "effect": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "postgraduate": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "taken": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "Multilingualism": [{"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "15": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "utensils": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Program": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "planes": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "Iraq": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "colors": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "enormous": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Browne": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Monkeys": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "CH": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "being": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "ones": [{"id": "01", "sentence": "His best ones."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}], "controller": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Four": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Cage": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "thus": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "Vectrex": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Audio": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "quo": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Shortly": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "octave": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}], "reference": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "Abuse": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "Debatty": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "actions": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "projected": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "77": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "lights": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "edge": [{"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "organisation": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "rendition": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "labelled": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "Anthem": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "readings": [{"id": "27", "sentence": "Different types of stone give different frequency readings."}], "evening": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "surfaces": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "pop": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "coverage": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "fiction": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "passed": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "importance": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "encouraged": [{"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "today": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "custom-built": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Tennis": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "printed": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "Zac": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "iterations": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}], "isn": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "generate": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Some": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "ingenious": [{"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "Only": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Workers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "guarantees": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "Extra": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "three-dimensional": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "visually": [{"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "projects": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "pauses": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "supposed": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "ethics": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "College": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "playing": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "WORM": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "hours": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "org": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "located": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "sticking": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "etc": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}], "Different": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "stating": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "books": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "Wikia": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "adhering": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "handcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "MIDI": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Piet": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "Bringing": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "summer": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "utopian": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "Island": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "STADSLIMIET": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "Beyonce": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "forming": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "sure": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "tremolo": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "investigated": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "songs": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "1977": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "hung": [{"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "workshop": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "flattered": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}], "goes": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Timberlake": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "top": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "Greek": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "world": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Technische": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "debut": [{"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "absorbed": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "catalysts": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "aural": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "this": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "graphically": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "tuned": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "catastrophic": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "spontaneous": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "Bigger": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "ti": [{"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "Higinbotham": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "myself": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "reciprocal": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Delacourt": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Kris Delacourt)."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "Because": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "APPLICATIONS": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "interesting": [{"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "any": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "em": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "sided": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "kinds": [{"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "envision": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "discussing": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "business": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "us": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}], "WITH": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "human": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "introduce": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "object": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "low": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "dimensions": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "irregular": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}], "could": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "explain": [{"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "fragment": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "Enschede": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "rasterised": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "contains": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "Serge": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "053mm": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "purposes": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "subsequent": [{"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "non-musical": [{"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}], "VANHOOF": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "quite": [{"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "That is quite scary."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}], "p": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "Verka": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "reproduction": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "1958": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "greenhouse": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Klangwerkstatt": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "published": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "ambience": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}], "activity": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "painstakingly": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "ELECTRONIC": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "interacting": [{"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}], "factories": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "simple": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Schaeffer": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "international": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Timbaland": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "23": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Julia": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "35": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "guided": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "instrumental": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "produce": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "cutting": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "asunder": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Fricatives": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "tendencies": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "funnily": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "safer": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "improper": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "musique": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "side": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "bits": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "magazine": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "word": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "myth": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "US": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}], "Tetra": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}], "Sveinbjarnardóttir": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "refusing": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "ourselves": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}], "Still": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}], "quotations": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "perfectly": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}], "derived": [{"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "void": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Arduino-powered": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "extensive": [{"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}], "doors": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "short": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Memory": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "quietest": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "inscriptions": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "peculiar": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "Cola": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Flute": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "London": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Acceptable": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "hotspot": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "blue": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "easier": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "constructing": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "story": [{"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}], "consider": [{"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}], "electronic": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "scan-processed": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "JoJo": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Hurk": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "Dennis": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "collage": [{"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}], "visualises": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "upon": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "criteria": [{"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "setup": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "political": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Summit": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "speaking": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "festivals": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "frikativ": [{"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "Writer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "nothing": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "context": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "materialised": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "baton": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "project": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "Mining": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "yodeling": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "exposed": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "blazing": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "OF": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "Courteeners": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "surround": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "sung": [{"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "these": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Lissajous": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "essentially": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "nonetheless": [{"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "landed": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "restricted": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "unrelated": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "HOOF": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}], "draws": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "passage": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "MARTENS": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "state": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "LCD": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "multi-arm": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "FRANKLIN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "related": [{"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "designer": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "centred": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "physical": [{"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "2016": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "László": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "architecture": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "Graphite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "elsewhere": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "waveforms": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "ninty-nine": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "entity": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "framework": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "symbolise": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "Encased": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "Sadier": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "page-3": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "la": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Cochior": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "poetic": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "AMVK": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "Shit": [{"id": "06", "sentence": "Shit like that, really great stuff."}], "Subotnik": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}], "horizontal": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "modern-day": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Fersteinn": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "Huellkurven": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "optical": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "journalists": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "destruction": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "sticker": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "therefore": [{"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "rare": [{"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "weaving": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "Java": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Crash": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "sees": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "attuned": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "doomed": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "self-education": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "aforementioned": [{"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "cassiterite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "amplify": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "steps": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "anyway": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}], "lasted": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "stop": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "Where does mining stop?"}], "rise": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}], "ensuring": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "Marco": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "advance": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "collaborated": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "indicated": [{"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "Flintstone": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "Hilkmann": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "PRINCIPIUM": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "Closer": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "embodied": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Kroos": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "degree": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "29": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "majority": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "combining": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}], "abuse": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "virtual": [{"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}], "playground": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "Londonâ": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Bon": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "feet": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "haunting": [{"id": "27", "sentence": "These questions are really haunting me ."}], "occurrences": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "relative": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Over": [{"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "bringing": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "re-examined": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}], "Princeton": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "even": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "Mosconi": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "natural": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "core": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "head": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Graphics": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "remotely": [{"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "anticipate": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Internet": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Invitation": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "1962": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "Caillat": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "water": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "Kakakakaito1998": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "mean": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "rules": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "Peter": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "interpretation": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "weeks": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "by": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "manipulation": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "another": [{"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "dates": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}], "comments": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "believed": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Valentina": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "vehicles": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "decided": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "correlations": [{"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "2007": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "Esther": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "lines": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "introduction": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "Alps": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Maiden": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "writer": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "newly": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}], "prices": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "reassembled": [{"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "programming": [{"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "Sound": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Instead": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "commissioned": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "64-bit": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "quartz": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "presented": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Miley": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Bing": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Best": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "weird": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "Apologize": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Since": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}], "Step": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "microscopic": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "on": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "pulse": [{"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "SESSION": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "appropriation": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Stemra": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "g": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "Pong": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "noting": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Douglas": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "radically": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "where": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "edition": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "nonsensical": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}], "Heerlen": [{"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "collages": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "signals": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Super": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "maximum": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Sonic": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "material": [{"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "characterised": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "sheets": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Montgermont": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "Dancing": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "Got": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "capacities": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "multimedia": [{"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "trained": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "subversive": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "files": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "doing": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "Nadine": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "reformulation": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "contributed": [{"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "dissonance": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "explains": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "emissions": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Rozendaal": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Traffic": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Destination": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "stuff": [{"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "condition": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "record": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "reading": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}], "Placements": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "artist": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "content": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "Above": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "pigeons": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "1982": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}], "Shayna": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Cascone": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Navajo": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "cash": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "encounters": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "muttering": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "scola": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "re-vegetation": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "manifest": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "End": [{"id": "06", "sentence": "End of piece."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "mixed": [{"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "temporalities": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "remarkable": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "Transmitted": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "Casio": [{"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "Davide": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "Want": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "exhibited": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "impose": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "have": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Lieshout": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "affective": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "prostitute": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "vehicle": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "been": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "Vectorian": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "along": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "form": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Her": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "told": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Rotem-Stibbe": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Defun": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Ellis": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Andrew": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "North": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}], "Max": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "Portapak": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "lighting": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "PIKSEL": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "instrumentation": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "country": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "activated": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}], "incipience": [{"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "unite": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "direct": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "better": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Newton": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "courtesies": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Bunton": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "grow": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "Jakobson": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "reception": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "investigate": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}], "mines": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "SiO2": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "animations": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "compiling": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "match": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "dialectic": [{"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "well": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "spits": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "essay": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "involved": [{"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "perfect": [{"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "Davis": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Darwinian": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Subcultures": [{"id": "20", "sentence": "Subcultures form through music."}], "exchange": [{"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "copier": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}], "spotlighted": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "converting": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "harmonic": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}], "fears": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}], "enables": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "distinctive": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "noted": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "violin": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "become": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "specifically": [{"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "worked": [{"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}], "respond": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "effectiveness": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "knowledge": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "hope": [{"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "1993": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "seconds": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "Intersections": [{"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "Quietude": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "analysing": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "Wombats": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Enrique": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "mixes": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Which": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "representing": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "CaO": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "time-lapse": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "Later": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "self-structuring": [{"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}], "wealth": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "Cupid": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "contaminated": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "conditions": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Faster": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "expressing": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "tiny": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}], "departure": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "input": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "Steinn": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "education": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "Ward": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "experimental": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Ingi": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "unreadable": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "generator": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "Katie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "phenomena": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}], "single": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "changes": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "000": [{"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "lost": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "parent": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "personifying": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "voices": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Vegetable": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "certain": [{"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "Telcosystems": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "sequentially": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Knížák": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "de": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "Incorporated": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "depends": [{"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "angles": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "operated": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "ambient": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "1989": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "Faulkner": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "speed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "reflective": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Gwen": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "practice": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "repeat": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "turntablism": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "placing": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "Miami": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "eleventh": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "When": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "Goudron": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "singularly": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "revolving": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}], "bodily": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "Fri": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "gives": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "multitude": [{"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "comprise": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "built-in": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "singing": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "EVP": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "interview": [{"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "strategy": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}], "really": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "hard-": [], "Sean": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "quality": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "Pedersen": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "Waters": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "uninhabitable": [{"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "laboratory": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "Ultima": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "becomes": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "game": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "saying": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}], "pose": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "team": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "sooner": [{"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Babyshambles": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Emeritus": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Fengler": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}], "alongside": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}], "medium": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "collaborating": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}], "struggles": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "CIRCULAIRE": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "unique": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "Athena": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Shins": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "model": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "Dan": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "respect": [{"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}], "Desecration": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Eddie": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "tremble": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "hour": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "morphing": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "gallery": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "differences": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "himself": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "launched": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "function": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "sky": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "folding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "introduced": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "Institute": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "1980s": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "paintwork": [{"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "Universal": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "floor": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "funny": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "nightmare": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "tetrahedrite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "asserts": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "no": [{"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "biotope": [{"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "was": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "Why was that?"}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Pretty": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}], "Nicole": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "produced": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "CONCRETE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "archive-text-score": [{"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "comprised": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}], "Weren": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "improvisation": [{"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "receiver": [{"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "device": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}], "forty": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "spirit": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "reed": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "be": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "tracks": [{"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "whether": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "system": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "properly": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "details": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "intuitive": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "Inspiration": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "Iglesias": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "strange": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "KAHN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "cheap": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "12": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "teach": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "Klafferi": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "outhouse": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "emancipating": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "logical": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "made": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "Lierman": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "Circular": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "presentations": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "garnered": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Then": [{"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "brutal": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}], "I": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until I tried it."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "27", "sentence": "I apply filters, use electronics."}], "seismic": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "afforded": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "anyone": [{"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "duplicated": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "STRIPPED": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "beneath": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "composing": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "Stuttering": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Minnesota": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "shoot": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "nice": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Figures": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Scarlet": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Pfizer": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "countries": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "treated": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Akan": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "involving": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "processing": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "manifesto": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "booklets": [{"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "actually": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Quite the contrary, actually."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "Guillemots": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "collaborates": [{"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "toying": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "media": [{"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "her": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "unwanted": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "counterparts": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "imprudently": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "POLY-DISO": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "arriving": [{"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "hacked": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "tone": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "With": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Nilsen": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "Tielemans": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "purpose": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Synthesizer": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "literally": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "local": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "instrument-builder": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Aux": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Gallium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "six": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "access": [{"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "rhythmic": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "happened": [{"id": "06", "sentence": "So that's what happened."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "What shifts happened in the past?"}], "blanks": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Clock": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Ayas": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "identify": [{"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "pass": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "late": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "staff": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "Feldman": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Contempory": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "lecture-form": [{"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}], "items": [{"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Saelemakers": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "refers": [{"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "our": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "glissandi": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "combination": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "Knowledge": [{"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "Hohti": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "31st": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "transducers": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "obviously": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "listening": [{"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "adopted": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "inspired": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "pulsations": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "meet": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "concentrated": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "DOB073": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "notes": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "leave": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}], "Synthesia": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "get": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "functions": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "filmmaker": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "IS": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "14": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "technician": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "reproducibility": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Sugababes": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "extended": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "generations": [{"id": "20", "sentence": "New generations are born."}], "approach": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "den": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "production": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "CA": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "NL": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "includes": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "imagination": [{"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "Feb": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "intertwine": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Delft": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "Cold": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "implications": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "set": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "rough": [{"id": "06", "sentence": "So you end up with a first rough selection."}], "national": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "themes": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "hacking": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "boss": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Martens": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "analog": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "instruction": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "closely": [{"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}], "labels": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "culminating": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "pre-digital": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "newcriticals": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "usually": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "24", "sentence": "He usually uses multimedia elements."}], "poetry": [{"id": "06", "sentence": "Abstract poetry."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "stand": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Kuro": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "genre": [{"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Hilde": [{"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "boat": [{"id": "27", "sentence": "You have to take a boat to get there."}], "Stone": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "guise": [{"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "solo": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}], "India": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "Nancarrow": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "reconstruction": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "feel": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "I don't feel this record has that."}], "satisfaction": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "materiality": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "Duckfood": [{"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "providing": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "How": [{"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "Happen": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Shot": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "Teddy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "specialised": [{"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}], "pre-date": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "tradable": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}], "O": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "later": [{"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "dare": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}], "non-profit": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Post-war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}], "hop": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "Preachers": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "in-residence": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "behind-the-scenes": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "stone": [{"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "back": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "called": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "Beginning": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "didn": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "equivalent": [{"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "two-year": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "others": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "words": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "failures": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "perspectives": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Vector": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "action": [{"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "silence": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "I think silence has that same relation with music."}], "analogue": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}], "x": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "death": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "around": [{"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "revolutionised": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "producing": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "acoustics": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "woke": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "Maurice": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "mutually": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "term": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "became": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "yielding": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "For": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "came": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}], "type": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "intense": [{"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Transformation": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "backgrounds": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "one": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "temple": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}], "Park": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "tonality": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "Resonanz": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}], "pdf": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Cry": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "translation": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "Water": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "easy": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "regarding": [{"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "referring": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "structures": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "expected": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "lignite": [{"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}], "Tokyo": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "figure": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "sites": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "important": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It is important for companies to manage this."}], "invited": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "formation": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "far": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "text-sound": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "Winnipeg": [{"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "Miles": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "lie": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Europe": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "Wait": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "ancient": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "Sundown": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "slag": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "write": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "awareness": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "laser": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "highly": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "cut-up": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "expand": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "most": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "ensure": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "straightforward": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "Harpverk": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "80s": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "United": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "aesthetic": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Jörg": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}], "scar": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "Blackers": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "tons": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "analogous": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "lesser": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "web-publication": [{"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "integration": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "events": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "Heroes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "gray": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "date": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "8": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "risk": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Uniting": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "bodies": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "marginalised": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "pasting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "anxieties": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "Am": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "early": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "Experimental": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Jamelia": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "conception": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "plastic": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "create": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "washing": [{"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "University": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "hold": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}], "media-technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}], "Rumble": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "These": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "approaches": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "blog": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}], "worrying": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "Rostock": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "scores": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "langbeinite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Hausswolff": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "Aside": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}], "greatly": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "Your": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "field": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "developing": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Razorlight": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "branches": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "oral": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "Gerasimenko": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "GAMMA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "PT": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "nomadic": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "Dream": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "GEMA": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "him": [{"id": "06", "sentence": "to him."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "General": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "folkoristic": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "plan": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "caused": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "hones": [{"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}], "Tyfus": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "amblygonite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "States": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "bullet": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "twelve": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}], "past": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "suited": [{"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "collect": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "population": [{"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "ever": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "expansion": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Call": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "effective": [{"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Indium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "N": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "While": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "urban": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}], "Fusinato": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "operational": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "September": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "often": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "from": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "take": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "indicate": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}], "Was": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "professional": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "Possibilities": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "agreed": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "Chasing": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "cleave": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "survive": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "composed": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "formed": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "created": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "consciously": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "meeting": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "rethinker": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "representation": [{"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Kingston": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "underpinning": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}], "message": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "DEREK": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Shakira": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "risk-free": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Nuur": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "live": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "publishing": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "JODI": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Sunblock": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "floppy": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "FR": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "Just": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "somewhere": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}], "spoken": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "de-mass-splintering": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "appointment": [{"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "commemoration": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "soundwaves": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "stones": [{"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "jive": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "vocation": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "earlier": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}], "Anitation": [{"id": "22", "sentence": "Anitation' is the term for animated notation."}], "randomly": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "flushed": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "across": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "accounts": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "served": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "31", "sentence": "Good food and drinks were served."}], "unorthodox": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "follows": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "Artists": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "1900": [{"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "sound-": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "Chelsea": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "TERRAIN": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "misconception": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "eventually": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}], "key": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "firmament": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Axle": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Stupidisco": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "e-warriors": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "translated": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "Dutch": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "BJ": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "polyphonic": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "wrangling": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Transparent": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "very": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "So": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}], "samples": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "vocalising": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "energy": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "closer": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "borderline": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "tenuous": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "extremely": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "archiving": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Crystal": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "spanned": [{"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "rudimentary": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "ARTKILLART": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "kind": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}], "patterns": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Näätämö": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "getting": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "begin": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "displacement": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "reminded": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "cybernetics": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "xenotime": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "played": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "Vanhoof": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "e": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "wanting": [{"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}], "dots": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "Night": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Christine": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "2000": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "sound-artist": [{"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "stickers": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "tangible": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "seen": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "pushing": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "RAFAËL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "scary": [{"id": "27", "sentence": "That is quite scary."}], "11": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Gallery": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "Universiteit": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "coexist": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "Drivers": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "generated": [{"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}], "waste": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Pure": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "sense": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "invisible": [{"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "line": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "processors": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "deep-mining-deep-time": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "security": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "Heinz": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "directors": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "existing": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "M": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "Adrian": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Blue": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "era": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "rests": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "kilometers": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "broadcasting": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Easy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "initially": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}], "improvised": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "opera": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "concrete": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "manipulated": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "audiences": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}], "Modernity": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "variety": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}], "theories": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "Tektronix": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}], "guy": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "shortly": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}], "Giralt": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "either": [{"id": "06", "sentence": "And that was never the question either."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "Like": [{"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "card": [{"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "artists": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "releases": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "There": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "computer-derived": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Sex": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "poster": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "concerned": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "Through": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "Canon": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "Buchla": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "belongs": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "appropriates": [{"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "invitation": [{"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "whose": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "vital": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "counts": [{"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "psychological": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "belong": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "Seminar": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "thereafter": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "when": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "spot": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "Christian": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "1980": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Lewis": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "exercise": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "graphical": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "20": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Not": [{"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "opens": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Joost": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "consistently": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "executive": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "If": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Signification": [{"id": "20", "sentence": "Signification also plays a major role in this."}], "Row": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}], "held": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "page": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "engineered": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}], "personal": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}], "should": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "PZI_XPUB": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "timbres": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "hearing": [{"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "Duncan": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "sessions": [{"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}], "2002": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "bad": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "has": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Fighters": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "hell": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "enjoyable": [{"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "memory": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "e-flux": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "creating": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "discourse": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "LP": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Milan": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "Burn": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "incredible": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "LED": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "synthesizer": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "philosophy": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "ranges": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "dated": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "reader": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "psycho": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "Mar": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "keynote": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Composition": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "universal": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "that": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "Why was that?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "publicly": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "Cathode": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "program": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "seems": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "readable": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "using": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "seamlessly": [{"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "passive": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "afterwards": [{"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}], "apply": [{"id": "27", "sentence": "I apply filters, use electronics."}], "stochastic": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "operation": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "Zürich": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "signs": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "keen": [{"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}], "Gawker": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "two": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "train": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "liberating": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "discuss": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "Timidity": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Fluxus": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "used": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "Nam": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Koos": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}], "Big": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "sculpture": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "spodumene": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "slowly": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "overwritable": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "performed": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "theatre": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "can": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Plasticism": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "song": [{"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "took": [{"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}], "satisfy": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "print": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Naturalis": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "your": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "titles": [{"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "against": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "27", "sentence": "If you work against it, it will kill you."}], "Changes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "filling": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "ore": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "DIY": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}], "XY": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "transmitters": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "Samanda": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "Owen": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "50": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Barkley": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "rang": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "Arsenale": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "metals": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "copy-zine": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "press": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "Carlson": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "axiomatic": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}], "somehow": [{"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}], "although": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "drew": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}], "choices": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "existed": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "stacked": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "faster": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Duo": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "hear": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "articulated": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Dog": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "front": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}], "former": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "aan": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "sonic": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "Join": [{"id": "06", "sentence": "Join the community."}], "mistakes": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "PU": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "programmer": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "opposite": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "Lopez": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "gave": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "compositional": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "development": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "haiku": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "expanded": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}], "church": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "perceives": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "ideas": [{"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "096": [{"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Andre": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "rises": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Body": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "languages": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "misunderstanding": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "light": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "economic": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "From": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "things": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "PDF": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Specifically": [{"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Alex": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "monumental": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "straight": [{"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "propositions": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "AEX": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "acclaim": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "complete": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}], "Kuzbass": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "period": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "Half": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "amplitude": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "Burning": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "via": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "platter": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "happy": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "brainwaves": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "Albert-Ludwigs-Universität": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "Brookhaven": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "buildings": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "so-called": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}], "doubting": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "Star": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Norway": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "new-media": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "mi": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "session": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "listened": [{"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "killed": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "boundaries": [{"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "influences": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}], "house": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "outside": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "died": [{"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "Germanium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Affair": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "informed": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "step": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "Adagio": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "section": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "Strips": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "shy": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}], "Repeating": [{"id": "12", "sentence": "Repeating, 4."}, {"id": "12", "sentence": "Post-Repeating."}], "Gordon": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "elusive": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "Studies": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "harmonies": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "Starting": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "use": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "thinks": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "Markus": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Mary": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "BY": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "shifted": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "believe": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "force": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "exclusive": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Sand": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "iron": [{"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Timisoara": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "able": [{"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "cleaning": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "2010": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Melanie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "7": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "regular": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "stick": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "path": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "publications": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Yet": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}], "acousmatic": [{"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "An": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "do": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "largest": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "BENNETT": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}], "tactics": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}], "splicing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "raster": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "player": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "styles": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "types": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "His": [{"id": "01", "sentence": "His best ones."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "liked": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "laserbeam": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "sped": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}], "relates": [{"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}], "inclinations": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "contemporary": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "intact": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "vibrations": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "algorithmic": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "resources": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "fabulation": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "sampling": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "text-compositions": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "originates": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "wall": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Throughout": [{"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}], "Lieven": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "justify": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "his": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "change": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "combines": [{"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "wherein": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "net": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "devices": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "two-in-one": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "enthusiastic": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "making": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "screamed": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "yourself": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "settles": [{"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}], "inhabits": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "LAFMS": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "limited": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Bet": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "populated": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "MA": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "makes": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "fiercely": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "Status": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Antwerp": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}], "Scores": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "PRESENTS": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "unexpected": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "industries": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "gallium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "Ultra": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "fall": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "discussed": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "conceptually": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "park": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "Peppers": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "beats": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "member": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "Backfire": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "handle": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "programmed": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "keeps": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}], "clocking": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Within": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "internal": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}], "lure": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "eyes": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "species": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "Life": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "commonly": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}], "leftover": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "ethos": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Blood": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "acoustic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "instruments": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "management": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "increasingly": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "family": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "60s": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "closed": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It created a vacuum after it closed."}], "visited": [{"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "artworks": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}], "refuses": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}], "returned": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "included": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "mannerisms": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "Gun": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "authors": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "dub-cut": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "Of": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "pictures": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "kitsch": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "social": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "through": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "for": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "ruled": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "attendants": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "influential": [{"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "De": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "transitioned": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "operating": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "joint": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "Guetta": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "progression": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}], "want": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}], "Bute": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "May": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "Orm": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "05": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "totally": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "directly": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "argument": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "real": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "perspective": [{"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "reproductive": [{"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}], "The": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "cliché": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "To": [{"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "genres": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "overlap": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "distils": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "radio": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Music": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Onomatopee": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "Bergen": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "seeking": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "Recording": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "south": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "Based": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Together": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "absence": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "drive": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "customer": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "LOCAL": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Partiro": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Venice": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "conflictual": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Vos": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "2019": [{"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Xerox": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "mapped": [{"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}], "holes": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "scheelite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Cradle": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "striking": [{"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "sydvarangergruve": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "structural": [{"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "particular": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "utilize": [{"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "Ziegler": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "repertoire": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "jukebox": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "interrogating": [{"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Ensemble": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Abstract": [{"id": "06", "sentence": "Abstract poetry."}], "ephemera": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "FLORIS": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "connections": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}], "emitted": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}], "willing": [{"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}], "law": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Gamma": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "As": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Ross": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Japan": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "value": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "Vincent": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "One": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "Alvin": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Gilmour": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "narrative": [{"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "conducted": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "travelling": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Koopa": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "burned": [{"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "wrong": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "future": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "changing": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "writing": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Empty": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "grids": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "because": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Xenakis-esque": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Kinnunen": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "ways": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "Steel": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Iannis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "joined": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "currently": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "collective": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "scholarly": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "forced": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "relevant": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "avoid": [{"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "sylvite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "lectures": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "Hoof": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "Matt": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "billions": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Circulaire": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "Earthquake": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "NIEK": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "index": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "fragility": [{"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "piano": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Sculptress": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}], "MAMPlayer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "active": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "counsellor": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Tom": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "multi-instrumentalist": [{"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "Sunfreakz": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "medieval": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "places": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "feat": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "turning": [{"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "virtuosic": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "fifty": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "surrounds": [{"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}], "Rather": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "methodologies": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "states": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}], "uploaded": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Data": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "lathe": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "Foals": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "refined": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "REMCO": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "yield": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "Nathan": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "Could": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "region": [{"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "Aika": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "glad": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}], "individually": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "speculatively": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "real-time": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "intimate": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "lecturer": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "favor": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "eliminate": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "reuse": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "Jovi": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "crystals": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "tool": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "building": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "between": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "UNI": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "Methi": [{"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "Sacrificing": [{"id": "12", "sentence": "Sacrificing, 2."}], "30": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "Strings": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "hardiest": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "border": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "PARA-PHONIC": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "continents": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "say": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}], "Peake": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Poly-diso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "transform": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "established": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "wants": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "intention": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "night": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "inspirations": [{"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}], "fraction": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "Off": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "short-lived": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "document": [{"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "strings": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "Patrick": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Founding": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "disturber": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "In": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Úlfar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "based": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "lautpoesie": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "clue": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "og": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "blurring": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "American": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "cubic": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "make": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "put": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "International": [{"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "505": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Beggin": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "represented": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "leads": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "We have a tunnel that leads there."}], "Stephen": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "tenth": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}], "join": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "why": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "support": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "Yuki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "chemist": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Koninklijk": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "nonsense": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}], "laut": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "film": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Baxter": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "thirteenth": [{"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "curated": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "actualisation": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "popularity": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "quantums": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "drawn": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "wizardry": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}], "Connor": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Presentation": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "trains": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "reverence": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "subject": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}], "all": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "reproductions": [{"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "towards": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Barbie": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "deal": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "underground": [{"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "acquainted": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "Hiele": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Nixon": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "creativity": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "coin": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "JUBILEE": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}], "necessary": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "demonstrate": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "allows": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "multiple": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "2013": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "code": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}], "Thus": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}], "devise": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "Sunshine": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Shayne": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "statistics": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "arguably": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "numerical": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "techniques": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "choral": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "town": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "ongoingness": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "lens": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "Does": [{"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}], "usual": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "45": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "City": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "intensity": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "expectation": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "usgs": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "gaffs": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "bouncing": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "Laboratories": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "notion": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Spreeuwenberg": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "relevance": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "Anarchy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "RAM": [{"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "drone": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So more drone, definitely."}], "out": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "collaborative": [{"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "2008": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "kinetic": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Hearts": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Holzer": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "founder": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Natives": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "machines": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "DENOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "tell": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "search": [{"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}], "Students": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "three": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "first": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "2017": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "play": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "sensor": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}], "extends": [{"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "collaboration": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "manual": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "vries": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "stream": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "standpoint": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "57th": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "repeatability": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "democratic": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "comparatively": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "mostly": [{"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "displayed": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "venue": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "phones": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "sum": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "given": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Reinhold": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "arises": [{"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "winter": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "post-ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "encompasses": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "Hailing": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "Mathias": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "encountering": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}], "Post-Repeating": [{"id": "12", "sentence": "Post-Repeating."}], "kitchen": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Thorez": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "issues": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "jumpcuts": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}], "fear": [{"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}], "E": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "Due": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "proceeding": [{"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "Ana": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "different": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Feist": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "200": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "curves": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "hardly": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "minus": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "asking": [{"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}], "Ziolkowski": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "percentage": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "help": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Blag": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "intricate": [{"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "grid": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}], "abstract": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Girls": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "March": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "Underground": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "hall": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "manages": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}], "William": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "brought": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "chemicals": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "event": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "presence": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "Free": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "PINKIE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "student": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}], "Graphic": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "basic": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "self-invented": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "version": [{"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}], "leader": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "begun": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "blacker": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "friend": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "self-aware": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "1963": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "ago": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "frustrates": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "bases": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "promoting": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "chiptune": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "confines": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "consisted": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "waveform": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "mortal": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Chico": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "connection": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "putting": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "one-to-one": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "Sony": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "billboards": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "English-language": [{"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "institutional": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "Bouwman": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "2015": [{"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "contrast": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "myriad": [{"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}], "soon": [{"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "animation": [{"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}], "vast": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "couldn": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}], "http": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Writers": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "imagine": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}], "Principium": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "Queens": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Borrow": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "NIEA": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "mountains": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "recoding": [{"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Do-Re-Mi": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "Come": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Virtual": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "pioneers": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "pushed": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "instantly": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}], "Musikin": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "couple": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "Hurdy-gurdy": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "Manhattan": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "unconventional": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "scratched": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Furtado": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "audiovisual": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "manmade": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "shouldn": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}], "Eindhoven": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}], "Morse": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}], "Academy": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "NILSEN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "naive": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "poet": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "understanding": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Fylkingen-affiliated": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "Cyrus": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "itself": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "renewed": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "ArtEZ": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "rehearsals": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Avenged": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Gerben": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "investigative": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "indicates": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Haraldsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "known": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "reasons": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "re": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "aspects": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "impact": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "behind": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "hand-drawn": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "placed": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "special": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "Fuller": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "power": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "Groupe": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "traced": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "those": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "archive": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "skills": [{"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}], "sat": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}], "archival": [{"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "VUKSIC": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "Days": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Laposky": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "sonar": [{"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}], "Everything": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "1967": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "avant-gardists": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "carefully": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Woody": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "ultimate": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "mineral": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "arctic": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "avant-garde": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "forms": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}], "Mead": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "training": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "members": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "Cristina": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "inputs": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "afraid": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "Travis": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "2009": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Amsterdam-based": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "manufacturers": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "Both": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "searched": [{"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "performers": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Apr": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "2012": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}], "Most": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Cramer": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "misuse": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "note": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "evolution": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}], "famous": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Bones": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "synthetic": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "cheaper": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Siberia": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Iraqi": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "auditory": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Sandy": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "considered": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "Technology": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "vectors": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "antisocial": [{"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "Embodiment": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Navid": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "casts": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "titled": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "explores": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "lack": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Perhaps": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "score": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "SynthFont": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "honourable": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "colour": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "stability": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "mutated": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "Metropolis": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "disk": [{"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "meaning": [{"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "offered": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}], "observed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "instrument": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}], "Price": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "mediation": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "Luv": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "VAN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "drifting": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "oscilloscopes": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "Canadian": [{"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "fully": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "juxtaposition": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Flenger": [{"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "pulses": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "dedicated": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "longer": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "comparisons": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "Triple": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "so": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "principles": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "options": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "perseus-eng1": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Goddess": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "Book": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "since": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "conductors": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "150": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "Atli": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "question": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "too": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "turntable": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "TheTrueEnd": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "own": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Crumb": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "traditional": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "believing": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "current": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "Willem": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Boxes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "utopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "per": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "tried": [{"id": "07", "sentence": "Until I tried it."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "extent": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "much": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Vleeshal": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "done": [{"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Up": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "depending": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "Finnish": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "Helsinki": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Mitterrand": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "talk": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "inviting": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}], "ever-evolving": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "now": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "eaten": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "million-note": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "months": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "rockets": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "spaces": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "abusive": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "most-known": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "Always": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Snow": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "foremost": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "perseus": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "printing": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "street": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "Morning": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "results": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "repeating": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Department": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Shena": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "overdetermined": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "Circle": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "psycho-acoustic": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "emulation": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "announcements": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "necessity": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "surface": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "After": [{"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Rapsodia": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "endurance": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "But": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "Participants": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "PIECES": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "BLADEL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "immersive": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "anymore": [{"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Tilburg": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "amongst": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "foreshadow": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "No": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "relationship": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "web-based": [{"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "Academie": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "dancer": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "embed": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "lasting": [{"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "VARIA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "once-current": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "potential": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "interferometry": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "spread": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "follow": [{"id": "06", "sentence": "And I follow that."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Chemical": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "South": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Hudgens": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "logistics": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "possibilities": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Nynne": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "poems": [{"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "frequencies": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "preserved": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "tones": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "builder": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "launch": [{"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "copy": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "check": [{"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}], "lifestyle": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "public": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Japanese": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Kokmeijer": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "defined": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "veins": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "technologies": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "method": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}], "unfold": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "share": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "superiority": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "Joy": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "colossal": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "33": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "galleries": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "southwestern": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Tempest": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "thick": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Musicales": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "labour": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "presents": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "determines": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "relations": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Palestine": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "initiatives": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "spoken-word": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "abstruse": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "new": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "publish": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "probe": [{"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "lend": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "C": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "BERGMARK": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "frame": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}], "there": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Staal": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "clients": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Zeus": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "residencies": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "concept": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "der": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "viewpoints": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "controls": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "Almost": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "relatively": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "celebrated": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Witt": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "continues": [{"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "recordings": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Ingólfsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "niobium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "elements": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Grøn": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "Lazytown": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "WIFI": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "superfast": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "SEQUENCER": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "who": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Eric": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "connect": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}], "combine": [{"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}], "Arnold": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "clear": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "feeds": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "affects": [{"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "two-stave": [{"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "Aloud": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "plucks": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}], "tailings": [{"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "artistic": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "drying": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "Need": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "land": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "superstructure": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "explosive": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "day": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "sound": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "keep": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Aguilera": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "anything": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "Crank": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "must": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "flow": [{"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "gold": [{"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "wide-ranging": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "d": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}], "gone": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "SCORES": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "editorial": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "completed": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "mechanical": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "ears": [{"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "blackers": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Verostko": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "filters": [{"id": "27", "sentence": "I apply filters, use electronics."}], "pragmatic": [{"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}], "famously": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "unintentional": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Nations": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "thread": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "HITS": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "attempt": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "JOHANNES": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "About": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "need": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "knew": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "after": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "It created a vacuum after it closed."}], "year": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "selecting": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "Williams": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "signature": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "uniform": [{"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Dust": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "aids": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "experimenting": [{"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "named": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "Girl": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "ink": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "assessment": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}], "don": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "I don't feel this record has that."}], "Una": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "oldest": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "enhance": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "Doing": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "fa": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "two-player": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "Day": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "include": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "1991": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Disco": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "tribute": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "encountered": [{"id": "06", "sentence": "We first encountered 'Principium 1.0'."}], "arbitrary": [{"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "gather": [{"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "Wrecking": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "keyboard": [{"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}], "Informed": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "attempts": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "soundings": [{"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "Robert": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "Small": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Long": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "Paramore": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "appeared": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}], "m": [{"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "activate": [{"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "dead": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "operate": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}], "limits": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Without": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "start": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}], "Atari": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "directing": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "4": [{"id": "12", "sentence": "Repeating, 4."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "years": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "Steve": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "experiment": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Technical": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Joseph": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "care": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "experimentation": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "1990": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "cooperation": [{"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}], "autonomous": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "Afterwards": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "turned": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "pianos": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "207": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "engagement": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "myths": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "Bubbly": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "scoring": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Nelly": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "mirror": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "matching": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}], "Enemy": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Gaudino": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "brightness": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "desolate": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "By": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Never": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "gip167": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "forth": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "Régine": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "JULIA": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "free": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "translate": [{"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "fostering": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}], "complex": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Trying": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "thousands": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "Annie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Johannes": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "themselves": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "Is": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "particularly": [{"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "Meanwhile": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "similar": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}], "Fratellis": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Mika": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Buennagel": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}], "installation": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "well-known": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}], "boring": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "functioning": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "Reconstruction": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "every": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}], "develop": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "normally": [{"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "reaction": [{"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "Eamon": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "touchpads": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}], "descending": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Museum": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "clever": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "darkened": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "impulse": [{"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}], "generative": [{"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}], "coal": [{"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "choice": [{"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "VECTORIAN": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "worker": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Otherwise": [{"id": "06", "sentence": "Otherwise you're not an artist."}], "ice": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "transposes": [{"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "chunks": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}], "P": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "intensified": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "custom": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "response": [{"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "performance-based": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "procedure": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "mentioned": [{"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "misplaced": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "bloggers": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Radical": [{"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "ensemble": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Roman": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "good": [{"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "Back": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Maiguashca": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "discards": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "again": [{"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "downloaded": [{"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "U": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "unnoticed": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "non-verbal": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "worth": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "white": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Francisco": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "resistance": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "Score": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}], "DETUNING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "Linkin": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "MORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}], "companies": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "Antwerp-based": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "Attali": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Junior": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "looks": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "impressions": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "Codarts": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "increased": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "videos": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "consisting": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "provide": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "waiting": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "rich": [{"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "Ben": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "cabinet": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}], "2D": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "twentieth-century": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "aren": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "appealing": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}], "electric": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "you": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "electronics": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "I apply filters, use electronics."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "deltas": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "Transit": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "inspirational": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}], "recognisable": [{"id": "06", "sentence": "Does this sound recognisable to you?"}], "ceiling": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "underlies": [{"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "Do": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "Feat": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "homes": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Dec": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "manipulate": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "Maciunas": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Professor": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "deliver": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "Pavilion": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "culture": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "inventions": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "hesitation": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}], "finally": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}], "embarrassment": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "applications": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "Image": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "Political": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}], "principle": [{"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "recherches": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "Yukki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "constellations": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "soldiers": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Plantenga": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "low-wage": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "originated": [{"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}], "Jazz": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "revenue": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "vocabulary": [{"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "proceeds": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "non-existent": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "Arachnes": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "Whether": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "Orson": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "colours": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Cornwell": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "converts": [{"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "women": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "K2O": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "GOURDON": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "DEPLAYER": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}], "investigation": [{"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "witnesses": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "radiating": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Lumidee": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "oriented": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "dialectical": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "sit": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}], "fairly": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "opportunity": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "host": [{"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}], "Allen": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "African": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "complimented": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}], "Dare": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "complicated": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "address": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "billion": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "engine": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "constraint": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "rather": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "melody": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "drop": [{"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "problem": [{"id": "06", "sentence": "What was the problem?"}], "Player": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "rhythms": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "seventh": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "Or": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}], "efficiency": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "mediators": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "2nite": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "spilling": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "XPUB": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Balloons": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "mics": [{"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "17": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "Queen": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Deterministic": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "Piano": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "performances": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "limbo": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "gain": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Aurelie": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "image": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "Tudor": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "technology": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "Under": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "government": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "guests": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "realtime-controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "Platinum": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "continuous": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "webs": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "nuclear": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "emulating": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "multi": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "collection": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "generates": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "thesis": [{"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "MUSIC": [{"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "lead": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "several": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "BUENNAGEL": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}], "Start": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "screaming": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "chat": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "Ecology": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "association": [{"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "Blossom": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "Netherlands": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "connects": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "Margreet": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "mix": [{"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "INFORMATIVE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "facsimile": [{"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Nordic": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Potter": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "notable": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "unknown": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "Bottle": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "typically": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Giulia": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Elder": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "urn": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "counter-energy": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Notation": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "accompanying": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "Icelandic": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "braunkohle": [{"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}], "versions": [{"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "Bünnagel": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "processes": [{"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Vaast": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}], "vulnerable": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Dress": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "unfolding": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "while": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "look": [{"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Kreidler": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}], "innovative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "detected": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "site": [{"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "transmutation": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "performance": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "rap": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "Home": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Era": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "TUNING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "concert": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "milliseconds": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "ERA": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Representing": [{"id": "12", "sentence": "Representing, 3."}], "fits": [{"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "loud": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Sámi": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}], "friends": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Stump": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "identities": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "double": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "costs": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "fine-tuned": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "Kunsthal": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "You": [{"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "each": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "vinyls": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "Amy": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "evoking": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "F": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "experiments": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "aestheticised": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "peculiarity": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "biotopes": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "NOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "Hilmar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "guide": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "deals": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "Darmstädt": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Varia": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "hip": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "AU": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Jürgenson": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "indictment": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "implosion": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "satisfying": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "EDITION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "military": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "scripting": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "sacred": [{"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Product": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Sreeuwenberg": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "frakativ": [{"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}], "Now": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "band": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "map": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "Siobhan": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "exchanges": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Scherzinger": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "Boy": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "confront": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "my": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "Yann": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "early-": [], "Team": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "1983": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "illustration": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}], "80": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Except": [{"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "They": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "MgO": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Haan": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Bocelli": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "exploring": [{"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "Spectral": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "preparations": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "extract": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "compactly": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "speculative": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "generally": [{"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "inventors": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "Flanders": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "creates": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "theoretical": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Neiden": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "10": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "update": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "addition": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "finished": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}], "HELGA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "70": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "millions": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "von": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "tracing": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "AT": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "approached": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "practises": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Lumiere": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Dukalska": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}], "present": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "intellectual": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "predictable": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "birth": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "height": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Interestingly": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}], "OTHERS": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}], "Fall": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Baby": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "sine": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}], "gip": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "relentless": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "cards": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "modified": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}], "snowfall": [{"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "shapes": [{"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Beware": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Quite": [{"id": "06", "sentence": "Quite the contrary, actually."}], "requires": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "issue": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "at": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "bring": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "guideline": [{"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "capitalism": [{"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "platform": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "transposed": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Brianstorm": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "library": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Pask": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Sydvaranger": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "elementary": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}], "Sweden": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Ch": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "formations": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "relay": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "topic": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "Gregorian": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "French": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Anyway": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "anitation": [{"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}], "speculated": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Keersemaker": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "wrote": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Douga": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "subsequently": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "pieces": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "voiced": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}], "channels": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Tube": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "multidimensional": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Willis": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "A": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Tøyen": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "passes": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "dawn": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "compression": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "interpretable": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "sets": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "compilation": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "stands": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "Trans-acoustic": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "mental": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}], "DRIVE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Broken": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "photovoltaics": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "partners": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "provocative": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "Thirteen": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "useful": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "north": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "deskilled": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "ANA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "programmable": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}], "turntables": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}], "coordinate": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "puppet": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "fundament": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "Smile": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Iron": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "confrontational": [{"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "crackles": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "outputs": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "mass": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "controlling": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "areas": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "emphasising": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "sedimentologists": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "games": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "to": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "to him."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "area": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}], "Symphony": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "RECORDS": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "Reijnoudt": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "dissent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "deck": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "treat": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "Master": [{"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "combinations": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "cut": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "group": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Cushh": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "ready": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "Jennifer": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "Angeles": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "filmmaking": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "founding": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}], "up": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "recognition": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Tonight": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "inside": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Zen": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Rhizome": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "sonore": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "LIERMAN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "coloured": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "Billiam": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "full": [{"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "remoteness": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Forever": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "society": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "loss": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Fratelli": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "MATA": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "possible": [{"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "dancers": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "aura": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Theodore": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Each": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "knowing": [{"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Contributors": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "working": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "petalite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "During": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "choreographed": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "banal": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "gov": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "leading": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "designed": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "vs": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Here": [{"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Calvin": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "harvested": [{"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "geology": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "above": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "Publishing": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "Oil": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Again": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "mined": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "examples": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "Proclaimers": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "hematite": [{"id": "27", "sentence": "We can see layers of hematite."}], "v3": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "income": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Street": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Jonas": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "close": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "inserted": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "likened": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "Stockhausen": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "groups": [{"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "mind": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "fascinates": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "03": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "fact": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Be": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "recognise": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "tools": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "serve": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "accessible": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Dancefloor": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "ve": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "am": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "thermal": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "otherworldly": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "enlarged": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "phi001": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "participate": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "Pipkin": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "David": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "DIVERSE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Hot": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Hard-Fi": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "choose": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "bunkers": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "board": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}], "under": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "curatorial": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "playback": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "instructions": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "adds": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "sampled": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "right": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "repetitions": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "release": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "caverns": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "1978": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "humans": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "circular": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "decoding": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "ART": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "Two": [{"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "store": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "composer": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "article": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "cheironomy": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "Paradiso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "electricity": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "renderings": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "Orientation": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "projection": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "propose": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Musical": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "further": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "President": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Lithium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "referred": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "sort": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "live-made": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "denies": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Art": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "pen": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "November": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Aug": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "execution": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "indeed": [{"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}], "Zealand": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "1981": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Kittler": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "similarities": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "Tinna": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "operates": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}], "positions": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "WdW": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "complexity": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "design": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "qualities": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "old": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "competition": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Any": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "off": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "2-3": [{"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "restriction": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}], "Rowan": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "defective": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "Song": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "practitioner": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}], "Alfie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "ROZENDAAL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "Even": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Geologists": [{"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "flecked": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "practical": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "slow": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "atmosphere": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "legal": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "previously": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "chain": [{"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}], "interest": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "WORKSHOP": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "https": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "constitutes": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "Eckehard": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "manifesting": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Tell": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "practices": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "gained": [{"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}], "BE": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "doubts": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "notation": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "responsible": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "roster": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "Books": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Oscilloscope": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}], "08": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "navigation": [{"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Clumsy": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "consonants": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "book": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Australia": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Christina": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "claimed": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Koolmees": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "though": [{"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "practitioners": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "contain": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "packaging": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "TELCOSYSTEMS": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}], "ingredients": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "herman": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "happen": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "Public": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "deliberately": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "Development": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "prophetic": [{"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Valentino": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "remove": [{"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "imagery": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "dummy": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "Trilogy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "visible": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "precisely": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "transformed": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "theme": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "infers": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Belgium": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "yes": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}], "studies": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "AND": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "earthquakes": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "Hackaday": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "market": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "aka": [{"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "dematerialisation": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "concentration": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "sound-text": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "indignation": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "anime": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Nordlichter": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "L": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "enchants": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "D": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "wolframite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "ball": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "grown": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "felt": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "place": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "other": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Harris": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Franklin": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "Therefore": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "produces": [{"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "Jordanaires": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "poisonous": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "specialising": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}], "China": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Romanticism": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "Kahn": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}], "timelines": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "sticky": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "co-founder": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "losing": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "territory": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "Killers": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "facilitate": [{"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}], "Serduchka": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "implosions": [{"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "Bart": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "artwork": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}], "musicians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "blast": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Lennox": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "probably": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Pistols": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "teaches": [{"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "Detmold": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "beautifully": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "organising": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "tantalum": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "influenced": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "bit": [{"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "mill": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "Clean": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Slow": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "interaction": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "completing": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "forcing": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "draw": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "vinyl": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "33rpm": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}], "demands": [{"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}], "Moholy-Nagy": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "chosen": [{"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "guitar": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "motion": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "pit": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Silver": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "bushes": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "theorist": [{"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "People": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "time": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "motto": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "inductive": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "occupied": [{"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "We": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "test": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "Give": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "sleeves": [{"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}], "multi-vocal": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "Kagel": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "devoid": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "gesture": [{"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Maccabees": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Kris": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Kris Delacourt)."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "consists": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "spinning": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}], "alone": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "economy": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "studied": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "JAKOBSON": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "happening": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}], "visitors": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "provided": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "cacti": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Johansson": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "zine": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "documenting": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}], "dating": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}], "ecology": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "electro-instrumental": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "realised": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "1": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "undergoing": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "pointing": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "influence": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Borders": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Seal": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "complimentary": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "screens": [{"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "within": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "exploration": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "ORE": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}], "stasis": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "electroacoustic": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}], "Cat": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "stressed": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "proposed": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "Niek": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "impossible": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "traditions": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "activities": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "electromagnetic": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "dystopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "Jan": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}], "end": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "writings": [{"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "reveal": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}], "Ståhl": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "people": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "unexplored": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Reykjavík": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "copyright": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "parks": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Noise": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "continuously": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "Chokehold": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "headphones": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "rest": [{"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "disks": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "beam": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Hang": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "original": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Arrows": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "matrix": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "mention": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "plants": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "once": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "auditive": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "mythology": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Armageddon": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "chamber": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "speakers": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "Investigation": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Con": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Choir": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "FLOPPY": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "nicely": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}], "phrase": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}], "multiplexed": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "something": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Red": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "middle": [{"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "million": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "next": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Paris": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "instrumentalisation": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "99": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "Prins": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Pliny": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "someone": [{"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "long": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}], "inserting": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Bed": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "Next": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "delve": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "belief": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "BBC": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Bites": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Navigating": [{"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "text-based": [{"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "base": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "moths": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "main": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "Bleed": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "control": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "H2O": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "plate": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "Christmas": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "invents": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "reinterpretation": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}], "Science": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "psyche": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "detail": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "vocal": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "Helga": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "process": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "size": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "experience": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "infinite": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "marking": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}], "mainly": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "holds": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "apparatuses": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "AURÉLIE": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Nine": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Editors": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Mineral": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Johnson": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Band": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "retro-for-retro": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "bars": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "musician": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "begins": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}], "Angola": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "largely": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "hospital": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "arrive": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Fengjastrútur": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "Phenomena": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Gramophone": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Xenakis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "work": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "generating": [{"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}], "Oostzijde": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "Sonology": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "WIELS": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "settings": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "voice": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "intelligible": [{"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}], "heard": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Artez": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "spatial": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "among": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "Pierre": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "associated": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "withdrawal": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "citations": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "including": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Elliot": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "sundown": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "transporting": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "Lasha": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "three-month": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}], "dynamic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Schematic": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}], "installed": [{"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Shoes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "reality": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "searching": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Technocultural": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "adapters": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "screen": [{"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}], "followed": [{"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "authentic": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "order": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Laetitia": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}], "Quo": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "California": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "conventional": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "soundscapes": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Kampen": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "reveals": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "sol": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Interview": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "enjoy": [{"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "Fe": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Pasvik": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "Guido": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "Amsterdam": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "effects": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "POLY-DISCO": [{"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "mystery": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Cruce": [{"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "indicator": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "transformation": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "derive": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "Out": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "0167": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "negative": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "takes": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "camera": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "playable": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "s-sake": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "Grant": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Kerckhoven": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "imagining": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "se": [{"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "might": [{"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "Kees": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "punch": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "Design": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Theater": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "Czech": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Gunnarsson": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "discussion": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "intervention": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "ten": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "all-dominating": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "celestial": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "youth": [{"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}], "Moon": [{"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Valentia": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "theater": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "remain": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Did": [{"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "Media": [{"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "INT": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "THE": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Booty": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "2011â": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "reinterpret": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "blackens": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "sylvinite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Improper": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}], "Devil": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Maashaven": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "ARCHIVING": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "money": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "laptop": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}], "Road": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Gohan": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "rigid": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}], "Hunk": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Brosi": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "González": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "range": [{"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "2": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "12", "sentence": "Sacrificing, 2."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "onto": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}], "their": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "edited": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Pendulum": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "demonstration": [{"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "Exotica": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "schools": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "actuality": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Sophie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "mechanic": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "perceptions": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "MS20": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "CITG": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "crossover": [{"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "disc": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}], "threads": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "lenticulars": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "PLAYER": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "vector": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "Andrea": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "rolls": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Kottke": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "pitch": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Dunkelmann": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "spines": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "posed": [{"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}], "over": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "application": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "ten-minute": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}], "hard": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "Kirkenes": [{"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "rock": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "choreographies": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "calls": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "Timo": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "or": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "historical": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "VALENTINA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "existence": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "combined": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "pinning": [{"id": "06", "sentence": "Art is not pinning things down."}], "PureData": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "Glasgow": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "contact": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "Julian": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "meaningful": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Gates": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "3": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "12", "sentence": "Representing, 3."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "colourful": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}], "Synthesis": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "he": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "R": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "ultimately": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "Stained": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "meets": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "ninty-three": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Defne": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "centre": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "Institutions": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "sun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "teachers": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "truly": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Annette": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "respective": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "capturing": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}], "engaging": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "allegorical": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "is": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "27", "sentence": "That is quite scary."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "Convocation": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "microphone": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "flying": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "Air": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Bobby": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "interventions": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Line": [{"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "investigates": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "Jul": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}], "models": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "regrets": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "initiated": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}], "Necrofantasia": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "listener": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "All": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "Before": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Those": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "modernist": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "hundreds": [{"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "mechanised": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Dashper": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "about": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "VECTOR": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "cases": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "during": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "selections": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "e-culture": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "surrounding": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "asked": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "singers": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "ignores": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}], "unplayable": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Kimmy": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "assess": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "fascinate": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "Cascada": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "abilities": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "according": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Brecht": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}], "little": [{"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "Kim": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Conservatorium": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "compensation": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "thinking": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "runs": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "textures": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "National": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Canada": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "impossibilities": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "redesigned": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "limit": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "always": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Implosion": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "poésie": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "completely": [{"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "24", "sentence": "The system was therefore completely stuck."}], "refining": [{"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "This": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "GREATEST": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "1999": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "challenge": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "beyond": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "musical": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "However": [{"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "Gourdon": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "Anonymous": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "phase": [{"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "conducting": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "processed": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}], "were": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "Good food and drinks were served."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "evenings": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "console": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "interface": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "images": [{"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "2313": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "preferred": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}], "alternative": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "works": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "intermediary": [{"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}], "Kürten": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Moniker": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Nelle": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "perceive": [{"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}], "tonewheels": [{"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "circuitry": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "aiming": [{"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "invented": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}], "consoles": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "influencing": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "Tectonics": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Electronic": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "cheironmy": [{"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}], "Roberta": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "Benny": [{"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "near": [{"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "strata": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "considers": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}], "digital": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Rotterdam": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "clarify": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "Dance": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "students": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "sensors": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "pattern": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "Research": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "Samuel": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "performer": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "newspapers": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "ascending": [{"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "bigger": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "and": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "Good food and drinks were served."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "allow": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "graphic": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Ellen": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "shows": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Groothandelsgebouw": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "bauxite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "going": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "lies": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Bear": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "acting": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "signal": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "Belgian": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "Are": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "correct": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}], "of": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "continually": [{"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "reinterpretations": [{"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "sensual": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "chants": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "Fil": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "HOLZER": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "clockwork": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "engineer": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}], "sterile": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}], "richer": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "Light": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "arts": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "Loaf": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Matthieu": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "constantly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "amplified": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "composition": [{"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "UNTITLED": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "Weller": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "softwares": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "grew": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "entrepreneur": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "STATION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "gravity": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "modular": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "publisher": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "sizes": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "500": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "executed": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}], "Singer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "playability": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "not": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "lapidary": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "comprises": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "gets": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Shots": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "collectively": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "maker": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "prototype": [{"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "Another": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Colbie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "improvise": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "does": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "Where does mining stop?"}, {"id": "27", "sentence": "How much influence does it have on a community?"}], "blank": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "Maxïmo": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "E-ARTHHA": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "Chen": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "maybe": [{"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "segments": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "8-INCH": [{"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "BOWTIE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "1960s": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}], "recent": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "SE": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "Architecture": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "MacDiarmid": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "organic": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Autumnsong": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Many": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "entities": [{"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}], "incorporated": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "recording": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "presentation": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "computing": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "opposed": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "wrongfully": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "life": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "sixties": [{"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "ride": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}], "result": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "1972": [{"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "awesome": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}], "9": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "body": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "Leona": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "empty": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "Bleeding": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Besides": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "agree": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "Keyboard": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Historia": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "consent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Finnendahl": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "commercially": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "absurd": [{"id": "27", "sentence": "It's absurd when you start to think about it."}], "samplers": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "switch": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "anticlimax": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "wove": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Why": [{"id": "06", "sentence": "Why was that?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "same": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "contemplation": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "nessecary": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "scale": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "recreate": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "YANN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "resulting": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "then": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "execute": [{"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "movement": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Serial": [{"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "History": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "six-notes": [{"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "mystique": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "Caput": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "increasing": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Eczema": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "television": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Boschat": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "sent": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "treatment": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "ephemerality": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "Layne": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "kill": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "If you work against it, it will kill you."}], "explorative": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Rafaël": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "ephemeral": [{"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "Until": [{"id": "07", "sentence": "Until I tried it."}], "Dearest": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "June": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "zoos": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "matters": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "coming": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "encounter": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "sheer": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "engages": [{"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "enter": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "prepared": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Shirasagi": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "Gonna": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "dig": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "si": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "Portugal": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "strength": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "many": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "spontaneity": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "amazing": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "staged": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "mark": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "album": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "programme": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "believes": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "contributing": [{"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "instantaneously": [{"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "Gnarls": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Time": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "selection": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "employed": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "DOB": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Lætitia": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "communication": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "Hopi": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "output": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "silos": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "movable": [{"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "Eventually": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "Bob": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "VAGUE": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Official": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "due": [{"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "standardised": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "poured": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "interfaces": [{"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "guzheng": [{"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "language": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "slivers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "fragile": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}], "Abuses": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}], "downloadable": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "attitude": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "stay": [{"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}], "depicting": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Husk": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Henry": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}], "hands": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "focus": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "She": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "DJ": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "recorder": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "That": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "That is quite scary."}], "developments": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "aligned": [{"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}], "advertised": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "series": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "geologists": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "Hanover": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "abroad": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Contemporary": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "interference": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "Julie": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "latinLit": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "dismissed": [{"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}], "into": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Pieces": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Currently": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "Crush": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "interactive": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "vacuum": [{"id": "27", "sentence": "It created a vacuum after it closed."}], "varied": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}], "contentment": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "determine": [{"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}], "strongly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "Sláturtíð": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}], "marvelling": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Office": [{"id": "06", "sentence": "Office material really, those colourful little dots."}], "participants": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "functioned": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}], "undertake": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}], "fragments": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "authorship": [{"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "TDK": [{"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "random": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "civilisation": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "origins": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Roberto": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Directorate": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "documentary": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "Arezzo": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "privately": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "outcomes": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}], "swarms": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "ambition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "presenting": [{"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "brief": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "Potassium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Shoulder": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Bring": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "phenomenon": [{"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}], "vernacular": [{"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "available": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}], "wind": [{"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "organ": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}], "Voice": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "reside": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "circumstances": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "signed": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "represent": [{"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "oscilloscope": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "mysterious": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "partly": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "representations": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Right": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "Hour": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "ever-changing": [{"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "otherwise": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Goodiepal": [{"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "appeal": [{"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "Elvis": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Tungsten": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "periphery": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "go": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "basis": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "transpose": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "courses": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "GesammttkkunnsttMeshuggahhLaandtttt": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "precursor": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "aspirations": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "Using": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "display": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "dot": [{"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "favourite": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "overlapping": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "First": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "sold": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}], "senior": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "18": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "detonation": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "horizon": [{"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "Karaoke": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Party": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "consciousness": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "broadcasts": [{"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "call": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}], "ANTWERP": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "George": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "facing": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "Low": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "extreme": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}], "ambiguity": [{"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}], "Agenda": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "booklet": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}], "Maffia": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "instance": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "Records": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "young": [{"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "5": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "foreign": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "eighth": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "visuals": [{"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "ahead": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "list": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "aspect": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Director": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "narratives": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "servant": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "liberation": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "position": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "just": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "constructed": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "beautiful": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "tapes": [{"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "studios": [{"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "trillion": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "claim": [{"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "Rhythm": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "New": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "20", "sentence": "New generations are born."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Fair": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "hidden": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "open": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "theory": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}], "Jack": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "Seeley": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "associate": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}], "arranged": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "prints": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "Despite": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "shipped": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "status": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "retain": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "values": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "cultural": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "course": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "air": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "inventive": [{"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "designers": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Down": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "mid-twentieth": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}], "foundation": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "Silence": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "figures": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "noisette": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "participatory": [{"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Fremdarbeit": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "Arnaud": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "relate": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "Piringer": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}], "man-made": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "instead": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "text": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "Wijk": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "concentrate": [{"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "regarded": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "Its": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "muted": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "destroys": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "possibility": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "summarized": [{"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "explained": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "27": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "immediate": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "shifting": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "raped": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "point": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "multi-instrumentalists": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "mythologising": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "Clothes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Republic": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "learning": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}], "won": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "nearly": [{"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Rock": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "Holloways": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "did": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "vertical": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "predilection": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "Piksel": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "room": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "Ne-Yo": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "MAT": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "Uses": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}], "Lisa": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "added": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "like": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "MIT": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Carolyna": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "whole": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "0": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "audio-visual": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "tied": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "Wolfsberger": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "Berlin": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "interwoven": [{"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "general": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "reminds": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "merely": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Drip": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "minimal": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "hand": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}], "aim": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}], "extra-musical": [{"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}], "century": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Boogie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "B": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "but": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "sphalerite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Studio": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "credibility": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "Friedrich": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "slurry": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "handles": [{"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "fraternies": [{"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "AN": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "Gareth": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "submitted": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "Western": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Dagger": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "emotions": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "serves": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "conductor": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "continuity": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "lengths": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}], "extraordinary": [{"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "widest": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}], "would": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "dimension": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Clàudia": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Soulja": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "68": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "compiled": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}], "transparent": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "studio": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "non-pulse": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "helped": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "detuning": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}], "convinced": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}], "owner": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "strangely": [{"id": "07", "sentence": "It's strangely hypnotising."}], "adviser": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "LuckyPDF": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "It": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "fundamental": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "steel": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "emotional": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "purely": [{"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}], "MIDIs": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "multicultural": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "entire": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Marclay": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "thing": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "worthwhile": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "problematic": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "underlying": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "evolving": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "abandoned": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Jun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "2006": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "21": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "octaves": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}], "affecting": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "records": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "meant": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}], "individual": [{"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "light-sensitive": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "CAN": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "rhythm": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Gym": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "François": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "ended": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}], "Gods": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "quote": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}], "Hits": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "God": [{"id": "23", "sentence": "Before God needed to be invented there were man."}], "enough": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "Bennett": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "amateurs": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Him": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "paste": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}], "throughout": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "strong": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "computational": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "Has": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "format": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}], "definitive": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "voltage": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "mountain": [{"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "fixed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}], "DE": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "spraying": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "enlarge": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "revolves": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "Change": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "cts": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "possibly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}], "computers": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "Los": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "reflect": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "exist": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "Chain": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "splitting": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Ball": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "twentieth": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "know": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "indeterminable": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Paik": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Bøtcher": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "in": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "transcriptions": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "example": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "metal": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "both": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "terms": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "geological": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "unveil": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "way": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "foil": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "sucker": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "explore": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Fergie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Midas": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "continued": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "imagined": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "solely": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "ear": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "stuck": [{"id": "24", "sentence": "The system was therefore completely stuck."}], "confection": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "magnet": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "Ellis-Bextor": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "automatic": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "observing": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "Murmansk": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "interpret": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "Brothers": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "mid-1980s": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "broader": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Mesias": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "splatter-chords": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Huelkorven": [{"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "seventies": [{"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "Sometimes": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "materialisation": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "nature": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "Seasons": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "tape": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}], "Meat": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Chamber": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "environment": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "see": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "What shifts will we see?"}], "Adapter": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "community": [{"id": "06", "sentence": "Join the community."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "source": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "conceptual": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "generation": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "aims": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "G": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "communicate": [{"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "twenty": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Bennet": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "Bang": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "disseminating": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "find": [{"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "Biennale": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "implementation": [{"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "civil": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "label": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "Angel": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "illegally": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "large": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "spiders": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "holders": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "born": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "20", "sentence": "New generations are born."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}], "IR2016": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "roofs": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "which": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "sounding": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "sale": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "try": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "remixes": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "exceeded": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "hah": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}], "strictly": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "rainbow": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "waves": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}], "distribution": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Things": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "regularly": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "turns": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "fought": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "My": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "magnets": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}], "Derek": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "filtering": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}], "Steina": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "differently": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "visual": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "magnetite": [{"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "organised": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "Morton": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "initiate": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "met": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "sensitivities": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "York": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "concepts": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "laid": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "CAPITALISM": [{"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "24": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "Jessica": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Riphagen": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Zwart": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "OBJECT": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Durante": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "touch": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "methodology": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "Russia": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "fit": [{"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "founders": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}], "taking": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Vehicle": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "navigations": [{"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "background": [{"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "radiation": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "Anything": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "XXXIII": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "America": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "acts": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Silicon": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Donaghy": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Beuys": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}], "part": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "toys": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "companion": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "Sonido": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "Witte": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "reach": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "regeneration": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "less": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Arachne": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "metre": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "commodities": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "valorises": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "until": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "separate": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}], "layer": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "subtitled": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "accompanied": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "trajectories": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "extremis": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "living": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Thu": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "remix": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "rising": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "Crazy": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Cologne": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "Ain": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "opinion": [{"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}], "narrow": [{"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "Fontys": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Lostprophets": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Barbican": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "still": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "freely": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "common": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "concrète": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "least": [{"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "graphics": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "headed": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "as": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "resonance": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "points": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "stories": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "affirming": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "columbite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Producer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "animals": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "Iceland": [{"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Ylva": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "released": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "hang": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}], "recontextualize": [{"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "storage": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "forsooth": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "statement": [{"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "And a statement..."}], "Pa-Ra-Di-So": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Delivery": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "15mm": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "subjective": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "powerful": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "tunnel": [{"id": "27", "sentence": "We have a tunnel that leads there."}], "Larrikin": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "plunder": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "popular": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "violinist": [{"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "valid": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}], "Black": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "minutes": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}], "staffs": [{"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "World": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "understand": [{"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "comes": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Emptiness": [{"id": "23", "sentence": "Emptiness has that same relation with notation."}], "interconnections": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "suggested": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "shaped": [{"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "are": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "New generations are born."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "artist-run": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "cuts": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "following": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Fabriek": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "sequencers": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "1926": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Dykeenies": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "noises": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "seek": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "sounds": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "musically": [{"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}], "crazy": [{"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "Arezo": [{"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "selected": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}], "stylus": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "certainly": [{"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "started": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Me": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "pairs": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "ungraspable": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "moments": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "classical": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "Manic": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "man": [{"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "heating": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "everything": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "if": [{"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "punched": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Beautiful": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "IT": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Mills": [{"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "joyful": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "Þórðarsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "flux": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "such": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Software": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "fjord": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "submit": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}], "ordering": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "Mobil": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Rare-earth": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "2011": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "deterministic": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "it": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Until I tried it."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "overall": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "speech": [{"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "long-duration": [{"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}], "connected": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "initial": [{"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}], "Jaðarber": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "polyurethane": [{"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}], "curator": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "tradition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "also": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "methods": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "research": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "TGC": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "zone": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "credits": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "away": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "CRUSH": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "McCartney": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "discursive": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "missed": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "researches": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "engaged": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "geophones": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Para-phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "Anne-Mie": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "electro": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "alchemic": [{"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "language-based": [{"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}], "harshness": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "Ideal": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Along": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "style": [{"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Bischoff": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "irrelevance": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "doesn": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "industry": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "com": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "namely": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Na2O": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "plant": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "one-time": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}], "Affect": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "true": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "turn": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "stores": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "cracked": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Colson": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "properties": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Coming": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Mn": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Raspberry": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "Curran": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "designing": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "films": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}], "Fine": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "1985": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "networks": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "ranged": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "monastery": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "Computer": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "select": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "lepidolite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "effort": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "hated": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}], "factor": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "specific": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "Tumbai": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "musicology": [{"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "And": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement..."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "simultaneous": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "machine": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Than": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "missiles": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "www": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Á": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "UK": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "central": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "we": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Italy": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "silk": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "cannot": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "uses": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "discarded": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "Finland": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "barely": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "case": [{"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "fourth": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "difficult": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}], "Rutt-Etra": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Bad": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "captures": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "food": [{"id": "31", "sentence": "Good food and drinks were served."}], "Florian": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "pubs": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "exhausted": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "here": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "van": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "conceptualisation": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "some": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "logistic": [{"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}], "numerous": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "Cultural": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "Carey": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "harbour": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "represents": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "productive": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "nouveauté": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}], "markers": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "bequeathed": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "Breathless": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "sometimes": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "choir": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "Connecting": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}], "blending": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "mathematical": [{"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}], "means": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "immediately": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "SYNTHESIS": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Georgia": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "HILKMANN": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "consequences": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Justice": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "without": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Vuksic": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Nov": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "plays": [{"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "Pinkie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Bowtie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "setting": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "ownership": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "runtime": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}], "generators": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "homage": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "manageable": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "refocus": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "decide": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}], "norm": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "Amersfoort": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "movements": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "Oct": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}], "Creation": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "already": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "pages": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}], "Asteroids": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "Vasuka": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "photographic": [{"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Cherry": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "Project": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "father": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "replaces": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "documentation": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "delicate": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "sculptural": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "unlikely": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Saedier": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}], "home": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "GRM": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Korea": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Mass": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "think": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}], "Thingamajigs": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "audience": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "characters": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "frequent": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Gingeas": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "painting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "On": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "inquiry": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "the": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "Quite the contrary, actually."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Nevertheless": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "Nico": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Size": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "exploitation": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "starting": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "times": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "recorded": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "entirely": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "financial": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "Lee": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "mining": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Where does mining stop?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "Þosteinsdóttir": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Bladel": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Brieselaan": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "consultant": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "communities": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "canvas": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "never": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "larger": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}], "Hans": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "exemplifying": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "22": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Rivie": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "letting": [{"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}], "Tcherepnin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "moving": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "denote": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "category": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "monitors": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "Van": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "reproducing": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "Love": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "contrary": [{"id": "06", "sentence": "Quite the contrary, actually."}], "received": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "carrier": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "standard": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "level": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "Winehouse": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "glass": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "origin": [{"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "understood": [{"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "Lonely": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Chili": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "00": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "Kristoffer": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "TMIDI": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "quipped": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "beginning": [{"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "occurs": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Irish": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "realise": [{"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "STEIM": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Spahlinger": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "publication": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Jetset": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Charlemagne": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "matter": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Video": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "According": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "ability": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "disturbances": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Source": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "tempo": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "alternate": [{"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}], "alchemy": [{"id": "27", "sentence": "It’s a kind of sound alchemy."}], "having": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "running": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "testing": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}], "Pay2Print": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "especially": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "information": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Soundsystem": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Fred": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Justin": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "Karina": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}], "macumbista": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "ongoing": [{"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Caribbean": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "Bas": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "sealed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "fair": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "Don": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Short": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}], "Go": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "Blunt": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "act": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "BÜNNAGEL": [{"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "Vasulka": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Paul": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "upside": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "redefine": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "duration": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "framed": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Arctic": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "The Arctic is changing quickly."}], "Floris": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "sequencing": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "parking": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "channel": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "bunch": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}], "beauty": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "beneficial": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}], "Myers": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "magnetic": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "filed": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "allowed": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "she": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "scripture": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "weren": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}], "sheet": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Metrostation": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "idea": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Daniel": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "greater": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "soil": [{"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}], "moment": [{"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "sequencer": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "interweaves": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "pleased": [{"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "looked": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "St": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "Mariah": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "intently": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "positive": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Jibbs": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "keys": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "formula": [{"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "counterpoints": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "pertinent": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "mobile": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "enrolled": [{"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "becoming": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}], "Funny": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}], "sleep": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "atop": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}], "reduced": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}], "comet": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Sat": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "West": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "subjects": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "Event": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}], "continue": [{"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "stage": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "Foo": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "length": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "WiFi": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "obsolete": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "eight": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "hopefully": [{"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "Make": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Patrol": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Shikari": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "serving": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "trickster": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "Zone": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "absent": [{"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}], "slambanken": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "lavender": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Class": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "contribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "may": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "quartet": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "array": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "temporal": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "relationships": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "expressive": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "oscillate": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Saturday": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "Arts": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "decision": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "situ": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "McFly": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "springs": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Amazing": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "web": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Hague": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}], "Away": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "frequency": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "HIELE": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "Foerster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "originators": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "1234": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "lecture": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "phi0978": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "miss": [{"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "rendering": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "composers": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "funding": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "Ones": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "resulted": [{"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}]}
|