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{"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."}], "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."}], "focal": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "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."}], "allegorical": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "longer": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Hilmar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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": "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."}, {"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."}], "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."}], "deltas": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "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."}], "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."}], "OBJECT": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Siberia": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "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."}], "seems": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "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."}], "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": "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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!"}], "Lætitia": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "designing": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "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'."}], "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."}], "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."}], "real": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"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": "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": "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": "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": "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."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "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."}], "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."}], "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 ."}], "harmonies": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], ";": [], "kullbingen": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "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."}], "Yukki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "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."}], "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."}], "person": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Before": [{"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": "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": "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "one-time": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "cheironmy": [{"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}], "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."}], "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."}], "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."}], "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..."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "envision": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "blackens": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "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."}], "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."}], "Akan": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "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."}], "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."}], "Filo": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "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."}], "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."}], "Nicole": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "worthwhile": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "north": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "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."}], "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."}], "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."}], "sphere": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "si": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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"}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "stay": [{"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}], "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."}], "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."}], "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."}], "Natives": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "STATION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "setting": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "enthusiastic": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "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."}], "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."}], "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."}], "sign": [{"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}], "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."}], "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."}], "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."}], "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."}], "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."}], "telephone": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"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."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "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."}], "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."}], "na": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "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."}], "subjects": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "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."}], "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."}], "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."}], "circular": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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."}], "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."}], "Owen": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "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."}], "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"}, {"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"}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "0.053mm": [{"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."}], "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."}], "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."}], "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."}], "post-ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "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."}], "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."}], "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."}], "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?"}], "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": "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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "biotopes": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "Workers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "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’."}], "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."}], "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."}], "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."}], "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."}], "improper": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "oriented": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "situation": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "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."}], "younger": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "inductive": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "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."}], "God": [{"id": "23", "sentence": "Before God needed to be invented there were man."}], "interacting": [{"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}], "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."}], "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."}, {"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."}], "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."}], "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."}], "food": [{"id": "31", "sentence": "Good food and drinks were served."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Rivière": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "occurs": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "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."}], "iterations": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}], "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."}], "rough": [{"id": "06", "sentence": "So you end up with a first rough selection."}], "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."}], "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."}], "Crumb": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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."}], "Italy": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "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."}], "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."}], "Mining": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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'."}], "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."}], "Haraldsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "cause": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "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."}], "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."}], "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."}], "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."}], "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."}], "aims": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "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."}], "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."}], "game": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"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": "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": "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": "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": "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."}, {"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."}], "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?"}], "thinks": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "overall": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "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."}, {"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."}], "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": "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": "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": "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": "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."}, {"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."}], "blazing": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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": "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."}, {"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."}], "force": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "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."}], "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."}], "yodeling": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "Eindhoven": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}], "complimented": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and 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."}], "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "programmer": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "levels": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "currently": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "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."}], "Nicolas": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "Fricatives": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "collaborated": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "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."}], "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 ."}], "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"}], "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."}], "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."}], "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."}], "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'."}], "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."}], "animation": [{"id": "21", "sentence": "Fersteinn works with the method of so-called '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."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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?"}], "text-sound": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "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."}], "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."}], "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."}], "multicultural": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "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."}], "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."}], "smooth": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "arachnids": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "consciously": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "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."}], "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."}], "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."}], "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."}], "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."}, {"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."}], "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."}], "curious": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "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."}], "Verostko": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "title": [{"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}], "vast": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "extremis": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "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."}], "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."}], "analytical": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "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'."}], "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."}], "Ecology": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "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."}], "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."}], "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."}], "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."}], "creativity": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "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."}], "cubic": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "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."}], "side": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Another": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "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."}], "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": "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": "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": "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'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "colors": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "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."}], "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."}], "Pretty": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}], "wind": [{"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "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."}], "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 ."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "Right": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "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'."}], "inviting": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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."}, {"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."}], "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."}], "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."}], "tantalum": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "WIFI": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Metropolis": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "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."}], "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."}], "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."}], "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'."}], "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'."}], "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."}], "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."}], "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."}], "logistic": [{"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}], "2016–2017": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "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."}], "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!"}], "Morse": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}], "Bologna": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "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."}], "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."}], "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."}], "Devil": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "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."}], "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."}], "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."}], "underneath": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "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."}], "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 ."}], "noises": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "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."}], "asserts": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "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."}], "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."}], "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."}], "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."}], "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."}], "proposed": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "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."}], "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."}], "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."}], "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."}], "captures": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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": "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": "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."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "spun": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "mannerisms": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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": "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": "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": "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."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}], "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."}], "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."}], "seamlessly": [{"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "certainly": [{"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "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."}], "fought": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "navigating": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "status": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Cologne": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "aimed": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}], "horribly": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "magazine.DE": [], "Bites": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "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."}], "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."}], "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."}], "philosophy": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "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."}], "Sunblock": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "counterpart": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "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."}], "Shirasagi": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "stores": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "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."}], "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."}], "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?"}], "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."}], "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": "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": "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 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": "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 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": "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": "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": "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": "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": "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": "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": "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 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": "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 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": "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": "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 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 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": "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 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": "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "18:00": [{"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."}], "periodic": [{"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "catalysts": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "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": "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."}, {"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."}], "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."}], "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": "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'."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "base": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "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."}], "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."}], "contributing": [{"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "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."}], "minus": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "beamer": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "assisting": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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"}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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."}, {"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."}], "Gohan": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "hands": [{"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 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": "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": "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": "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": "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."}, {"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."}], "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."}, {"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."}], "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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?"}], "Ai": [], "retro-for-retro'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."}], "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."}], "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."}], "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."}], "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."}], "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": "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."}, {"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."}], "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."}], "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."}], "percentage": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "graphic/sculptural": [{"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."}], "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."}], "discuss": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "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."}], "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."}], "PIECES": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "All": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"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": "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": "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!"}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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!"}], "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."}], "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": "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": "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."}], "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."}], "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."}], "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."}], "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."}], "Modernity": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "DEPLAYER/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."}], "states": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}], "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."}], "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."}], "21:00": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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": "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": "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": "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": "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": "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": "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": "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": "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."}, {"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."}], "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."}], "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."}], "belong": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "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."}], "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."}], "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!"}], "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."}], "engaged": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "interpretations": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "roughly": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "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."}], "conceptually": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "1977": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "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."}], "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."}], "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."}], "Fratelli": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "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."}], "definitive": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "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": "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": "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": "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": "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": "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": "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": "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": "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."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "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."}], "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."}], "facets": [{"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Régine": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "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."}], "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'."}], "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."}], "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."}], "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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."}, {"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."}], "Fremdarbeit": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "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."}], "pulsations": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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 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, 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": "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."}, {"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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "Except": [{"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "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."}], "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."}], "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."}], "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."}], "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."}], "entities": [{"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}], "vacuum": [{"id": "27", "sentence": "It created a vacuum after it closed."}], "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?"}], "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."}], "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."}], "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."}], "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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 (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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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."}], "Frith": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "abilities": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "clockwork": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "poetic": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "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."}], "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."}], "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."}], "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."}], "playability/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."}], "Participants": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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": "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 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 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": "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": "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 'Mass Black Implosion' series began in 2007."}], "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."}], "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."}], "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."}], "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."}], "quo": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "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."}], "safer": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "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."}], "exchanges": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "polyurethane": [{"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "Repeating": [{"id": "12", "sentence": "Repeating, 4."}, {"id": "12", "sentence": "Post-Repeating."}], "EDITION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "chamber": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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?"}], "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."}], "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."}], "sonification": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "indeed": [{"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}], "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."}], "Will.I.Am": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "revenue": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "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."}], "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."}], "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."}], "magazine/object": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "engineered": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}], "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."}], "theme": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "counterpoints": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "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."}], "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)."}], "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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-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": "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": "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": "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": "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": "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": "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": "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "intertwined": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "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."}], "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."}], "Flintstone": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "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."}], "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."}], "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."}], "Atli": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "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."}], "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."}], "tens": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "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?"}], "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'."}], "Those": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "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."}], "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."}], "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."}], "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."}], "Earth": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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’."}], "straightforward": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "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."}], "silos": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "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."}], "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."}], "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."}], "untouched": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "Úlfar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "Peri": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "examine": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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": "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": "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."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "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."}], "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."}], "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."}], "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."}], "soundwaves": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "choose": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "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."}], "Flenger": [{"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "scarcely": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "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."}], "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."}], "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."}], "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."}], "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"}], "Curvy": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "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."}], "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."}], "Represent": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "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."}], "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."}], "parking": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "0.2": [{"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."}], "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."}], "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."}], "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."}], "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."}], "generation": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "unreadable/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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "filters": [{"id": "27", "sentence": "I apply filters, use electronics."}], "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."}], "Doing": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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'."}], "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."}], "discursive": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "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."}], "encompasses": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "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."}], "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'."}], "hypnotising": [{"id": "07", "sentence": "It's strangely hypnotising."}], "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."}], "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."}], "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."}], "honourable": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "initially": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}], "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."}], "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."}], "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?"}], "Far": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "problem": [{"id": "06", "sentence": "What was the problem?"}], "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."}], "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'."}], "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'."}, {"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'."}], "interpret": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "continue": [{"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "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."}], "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."}], "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."}], "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."}], "overlaps": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "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."}], "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."}], "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."}], "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."}, {"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."}], "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"}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "ambiguity": [{"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}], "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."}], "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."}], "perfect": [{"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "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."}], "counts": [{"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Post-Repeating": [{"id": "12", "sentence": "Post-Repeating."}], "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."}], "dialectic": [{"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "array": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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?"}], "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."}], "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."}], "Drivers": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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."}], "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."}], "Arezo": [{"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "care": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "inspiring": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "storage": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "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."}], "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."}], "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."}], "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."}], "similarities": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "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."}], "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."}], "Belgian": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "feminist": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "Pong": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "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."}], "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."}], "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."}], "mailed": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "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?"}], "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."}], "nicely": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}], "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."}], "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."}], "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."}], "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."}], "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."}], "lights": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "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."}], "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "Improper": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "amplitude": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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."}], "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."}], "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."}], "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."}], "mechanic": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "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."}], "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."}], "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."}], "readings": [{"id": "27", "sentence": "Different types of stone give different frequency readings."}], "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."}], "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."}], "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."}], "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."}], "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."}], "prostitute": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "passes": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "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."}], "attract": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Line": [{"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Stump": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Atari": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "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": "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": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "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."}], "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."}], "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."}], "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?"}], "facade": [{"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}], "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."}], "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."}], "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)."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "consistently": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "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."}], "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."}], "relevant": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "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."}], "reflective": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "loud": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Antwerp-based": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "seventh": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "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."}], "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'."}], "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."}], "stages": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "Thirteen": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "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."}], "guests": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "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?"}], "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."}], "Did": [{"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "Ping": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "clever": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "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": "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": "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."}, {"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."}], "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."}], "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."}], "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)."}], "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"}], "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."}], "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."}], "invisible": [{"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "frakativ": [{"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "17:00": [{"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."}], "wrong": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "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": "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": "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": "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": "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": "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": "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."}, {"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."}], "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."}], "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."}], "host": [{"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}], "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."}], "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."}], "inserting": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "literally": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Only": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "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."}], "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."}], "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."}], "interference": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "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."}], "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."}], "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."}], "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."}], "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."}], "continuous": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "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."}], "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."}], "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."}], "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."}], "scary": [{"id": "27", "sentence": "That is quite scary."}], "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."}], "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."}], "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."}], "stuck": [{"id": "24", "sentence": "The system was therefore completely stuck."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "doors": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "Sculptress": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "19:00": [{"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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "transmutation": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "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."}], "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."}], "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."}], "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."}], "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": "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."}, {"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."}], "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."}], "Back/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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "09:00": [{"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."}], "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."}], "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."}], "virtual": [{"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}], "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."}], "superiority": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "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."}], "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."}], "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."}], "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."}], "surrounds": [{"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "reminded": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "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."}], "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."}], "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."}], "shuffled": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "sessions": [{"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "guy": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "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."}], "Bringing": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "optical/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."}], "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": "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": "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": "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": "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."}, {"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."}], "regeneration": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "geophones": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "assessment": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}], "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."}], "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."}], "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."}], "crossover": [{"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "Pasvik": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "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."}], "Delft": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "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."}], "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 ."}], "delicate": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "8-INCH": [{"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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..."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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": "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": "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": "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."}], "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."}], "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."}], "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'."}], "rigorous": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "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."}], "Quite": [{"id": "06", "sentence": "Quite the contrary, actually."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}, {"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."}], "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."}], "generates": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "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."}], "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."}], "agree": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "periods": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}], "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."}], "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."}], "contemplation": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "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."}], "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."}], "HITS'": [], "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."}], "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."}], "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."}], "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "uninhabitable": [{"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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 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?"}, {"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?"}], "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."}], "mapped": [{"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "pauses": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "blending": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "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’."}], "Zürich": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "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 ."}], "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."}], "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?"}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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."}, {"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."}], "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": "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."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "temporal": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "in/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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "CONCRETE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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?"}], "teachers": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "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."}], "blue": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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"}], "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."}], "spontaneous": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "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."}], "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."}], "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."}], "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": "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": "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": "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."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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?"}], "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."}], "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."}], "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": "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."}, {"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."}], "engine": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "desired": [{"id": "27", "sentence": "All to get to the desired result: The gold!"}], "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"}], "spoken-word": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "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."}], "southwestern": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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": "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'."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "viewed": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "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."}], "won": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "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."}], "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."}], "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."}], "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 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": "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": "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": "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": "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 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": "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": "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": "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": "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 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": "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 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": "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": "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": "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": "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": "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": "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 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": "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 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 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": "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 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": "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": "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": "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 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": "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": "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": "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": "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": "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 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": "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."}], "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."}], "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."}], "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."}], "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Body": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Inspiration": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "self-education": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "quote": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}], "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."}], "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."}], "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"}], "titles": [{"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "Its": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "anxieties": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "partly": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Transmitted": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "9–11": [{"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."}], "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."}], "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."}], "Montgermont": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "Fylkingen-affiliated": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "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."}], "quietest": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "Bart": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "killed": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "software/noise": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "Ingólfsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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'."}], "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."}], "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"}], "1500–1900": [{"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "Albert-Ludwigs-Universität": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "meets": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "most-known": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "lure": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "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."}], "cheap": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "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."}], "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."}], "Signification": [{"id": "20", "sentence": "Signification also plays a major role in this."}], "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."}], "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."}], "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."}], "0.15mm": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Nathan": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "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."}], "randomly": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "grey": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "relay": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "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."}], "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."}], "evoking": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "operational": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "sell": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "populated": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "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."}], "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."}], "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."}], "joint": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "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."}], "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."}], "somehow": [{"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "performance-based": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "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."}], "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."}], "intuition": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "limit": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "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."}], "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'."}], "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"}], "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."}], "Bischoff": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "shift": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "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."}], "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."}], "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": "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": "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": "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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?"}], "manifesto": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "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."}], "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."}], "Otherwise": [{"id": "06", "sentence": "Otherwise you're not an artist."}], "strange": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "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."}], "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."}], "editions": [{"id": "05", "sentence": "The making of editions can be understood in this context."}], "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."}], "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."}], "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."}], "drinks": [{"id": "31", "sentence": "Good food and drinks were served."}], "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."}], "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."}], "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."}], "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."}], "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "ahead": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "Theodore": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "x": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}], "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."}], "phi0978.phi001.perseus-eng1:33.1": [{"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?"}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "Alvin": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "scales": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "2.9": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "Aalto": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "encounter": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Recording": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "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."}], "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."}], "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."}], "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."}], "rang": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "settles": [{"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}], "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."}], "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."}], "circumstances": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "promoting": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "increased": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "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."}], "iconic": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "stochastic": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "south": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "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."}], "circuitry": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Huelkorven": [{"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "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."}], "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."}], "intermediary": [{"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}], "operated": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "situ": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "Þórðarsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "believes": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "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."}], "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."}], "niobium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "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?"}], "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."}], "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."}], "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."}], "Finnish": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "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."}], "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."}], "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": "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": "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": "This has led to a new interest in analogue processes or 'dirty hands' art."}], "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."}], "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."}], "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."}], "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."}], "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."}], "0.03": [{"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."}], "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."}], "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."}], "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."}], "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."}], "Sugar/Axle": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "accessibility": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "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."}], "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."}], "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": "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": "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": "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."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "spits": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "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."}], "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."}], "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."}], "Why": [{"id": "06", "sentence": "Why was that?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Interestingly": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}], "normally": [{"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "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."}], "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."}], "LOCAL": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "fairly": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "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)."}], "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."}], "aesthetic": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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"}], "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."}], "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."}], "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)."}], "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."}], "little…": [], "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."}], "DE/NL": [{"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"}], "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."}], "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."}], "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."}], "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."}], "Software": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "authors": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "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."}], "reciprocity": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}], "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."}], "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."}], "e.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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "timbres": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "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!"}], "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."}], "playground": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "settle": [{"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "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."}], "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."}], "Empty": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "contribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "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."}], "hematite": [{"id": "27", "sentence": "We can see layers of hematite."}], "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."}], "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."}], "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!"}], "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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'."}], "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."}], "water": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "studies": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "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'."}], "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."}], "CITG": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "unable": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "afterwards": [{"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}], "0.053mm–0.15mm": [{"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."}], "Until": [{"id": "07", "sentence": "Until I tried it."}], "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."}], "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."}], "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?"}], "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."}], "experimentation": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "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."}], "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."}], "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."}], "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."}], "photovoltaics": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "facility": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "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."}], "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."}], "non-pulse": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "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."}], "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."}], "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."}], "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."}], "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."}], "pigeons": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "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."}], "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."}], "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."}], "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."}], "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."}], "cash": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Orientation": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "boss": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "aspirations": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "his/her": [{"id": "09", "sentence": "Each student could design his/her own project on this medium."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "atop": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}], "Cola": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "coming": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "Band": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "companion": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "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."}], "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."}], "friend": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "apply": [{"id": "27", "sentence": "I apply filters, use electronics."}], "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."}], "D.A.N.C.E": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "WdW": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"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."}, {"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."}], "executive": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "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."}], "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": "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": "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."}, {"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."}], "contrary": [{"id": "06", "sentence": "Quite the contrary, actually."}], "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."}], "costs": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "comparatively": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "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."}], "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."}], "lignite": [{"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}], "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."}], "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."}], "statistics": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "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."}], "screens": [{"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "grew": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "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."}], "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!"}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "devise": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "CH/NL": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "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."}], "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."}], "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."}], "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."}], "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."}], "pinning": [{"id": "06", "sentence": "Art is not pinning things down."}], "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."}], "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."}], "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."}], "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."}], "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."}], "support": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "indictment": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "outhouse": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "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."}], "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."}], "anything": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Post-war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "1979": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "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."}], "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."}], "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."}], "unorthodox": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "plunder": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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?"}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "haiku": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "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."}], "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."}], "Abstract": [{"id": "06", "sentence": "Abstract poetry."}], "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."}], "curating": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}], "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."}], "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."}], "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."}], "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."}], "12:00–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."}], "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."}], "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."}], "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."}], "materialisation": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "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."}], "a.k.a": [{"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."}], "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?"}], "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."}], "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."}], "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."}], "dare": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "and/or": [{"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": "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 second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"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": "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "APPLICATIONS": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "personifying": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "0.30": [{"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."}], "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."}], "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."}], "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."}], "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."}], "acoustics": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "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."}], "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."}], "billboards": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "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."}], "S": [{"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 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": "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."}], "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."}], "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."}], "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'."}], "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."}], "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"}], "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."}], "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."}], "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."}], "so": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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."}, {"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."}], "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."}], "sound/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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Iglesias": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "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."}], "8.00": [{"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."}], "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."}], "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."}], "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."}], "Mass": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass 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."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "synthetic": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "consonants": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "0.08": [{"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."}], "Everything": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "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."}], "acting": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "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."}], "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."}], "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."}], "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."}], "Timberlake": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "demonstrate": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "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."}], "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 ."}], "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'."}], "wants": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "comparisons": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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": "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?"}, {"id": "27", "sentence": "Where does mining stop?"}], "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."}], "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."}], "dismissed": [{"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "perspex": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "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."}], "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."}], "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."}], "0.01": [{"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."}], "unwanted": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "expert": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "p.34": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "Aid": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "father": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "intelligible": [{"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}], "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."}], "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."}], "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."}], "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."}], "Sadier": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "continuity": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "options": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "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."}], "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."}], "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."}], "voltage": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "brutal": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}], "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."}], "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."}], "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."}], "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."}], "cleaning": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "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."}], "hard-": [], "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."}], "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'."}], "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."}], "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."}], "placing": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "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."}], "symbolise": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "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."}], "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."}], "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."}], "utopian": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "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."}], "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."}], "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"}], "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'."}], "dissent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "2.0": [{"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 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": "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."}], "Jaðarber": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "Which": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "non-existent": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "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."}], "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."}], "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."}], "afforded": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "stressed": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "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?"}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "Representing": [{"id": "12", "sentence": "Representing, 3."}], "chapter": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "coexist": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "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."}], "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."}], "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."}], "braunkohle": [{"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}], "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."}], "complimentary": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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'."}], "Plantenga": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "Romanticism": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "Hausswolff": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "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."}], "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."}], "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."}], "West": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "pit": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Queen": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Kuro": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "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."}], "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."}], "discussions": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "forced": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "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."}], "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."}], "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."}], "Row": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "selected": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}], "haunting": [{"id": "27", "sentence": "These questions are really haunting me ."}], "dummy": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "oldest": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "thermal": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "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."}], "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."}], "Sandy": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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?"}], "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."}], "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."}], "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."}], "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."}], "believing": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "intensified": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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)."}], "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."}], "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."}], "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!"}], "activate": [{"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "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."}], "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."}], "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."}], "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."}], "Carl": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "refuses": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}], "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."}], "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."}], "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."}], "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."}], "driver": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "20:30": [{"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."}], "Keersemaker": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "departure": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "adapters": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "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."}], "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."}], "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."}], "pen": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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."}], "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."}], "Rhythm": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "doubts": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "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."}], "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."}], "textures": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Jazz": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "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."}], "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."}], "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."}], "sensual": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "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."}], "early-": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "town": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "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."}], "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."}], "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."}], "naive": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "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."}], "stated": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "stasis": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "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."}], "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."}], "lengths": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}], "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."}], "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."}], "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": "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": "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": "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": "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": "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": "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": "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": "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "things.Jörg": [], "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."}], "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."}], "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'."}], "overthink": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "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."}], "5.00": [{"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."}], "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."}], "Miami": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "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."}], ".TUNING": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "keen": [{"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "blackers": [{"id": "30", "sentence": "People who make black MIDIs are known as '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."}, {"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."}], "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."}], "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'."}], "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."}], "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."}], "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'."}], "Kuzbass": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "situations": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "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."}], "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."}], "DIVERSE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "card": [{"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "articulators": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "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."}], "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."}], "Kampen": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Multilingualism": [{"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "Rozendaal/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."}], "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."}], "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."}], "+": [], "cooperation": [{"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "generations": [{"id": "20", "sentence": "New generations are born."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "weeks": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "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."}], "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."}], "apparatus": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Sacrificing": [{"id": "12", "sentence": "Sacrificing, 2."}], "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."}], "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."}], "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."}], "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."}], "spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "coding": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}], "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."}], "box/kinetic": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}], "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."}], "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++."}], "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."}], "two-year": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "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."}, {"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."}], "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."}], "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'."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "TDK": [{"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "pieces.Johannes": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "1990": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "defective": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "musician–": [], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "remoteness": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "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."}], "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."}], "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."}], "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."}], "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."}], "processing…": [], "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."}], "consent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "Arnaud": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "Due": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "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."}], "Gon": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "mediators": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "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."}], "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."}], "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."}], "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'."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "1.0": [{"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."}], "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."}], "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."}], "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."}], "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!"}], "section": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "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."}], "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."}], "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."}], "strangely": [{"id": "07", "sentence": "It's strangely hypnotising."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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')."}], "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."}], "inclinations": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "extends": [{"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "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."}], "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."}], "30,000": [{"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "BOWTIE/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."}], "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."}], "Knowledge": [{"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "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."}], "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."}], "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."}], "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."}], "impressions": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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": "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": "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 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": "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 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": "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 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 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": "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 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": "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": "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 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": "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 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 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": "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": "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 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": "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": "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": "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 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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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 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": "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": "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": "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 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": "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 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": "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 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 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": "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 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": "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": "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": "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."}], "instrumentalise": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "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."}], "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."}], "filmmaker": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "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."}], "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."}], "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."}], "disturber": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "visits": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "encountered": [{"id": "06", "sentence": "We first encountered 'Principium 1.0'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "dancer": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "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'."}], "0.05": [{"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."}], "hardly": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "ca": [], "Ca": [], "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."}], "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."}], "begin": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "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."}], "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."}], "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."}], "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."}], "coded": [{"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "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."}], "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."}], "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."}], "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."}], "57th": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "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."}], "Norway": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "seemed": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "DRIVE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "actualisation": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "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."}], "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."}], "meant": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}], "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."}], "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."}], "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."}], "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."}], "vs": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "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."}], "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."}], "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."}], "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."}], "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."}], "work/action": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "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 ."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Perhaps": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "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)."}], "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."}], "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."}], "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."}], "lenticulars": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "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."}], "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."}], "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."}], "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."}], "technology/consumer": [{"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "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."}], "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."}], "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."}], "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."}], "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."}], "species": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "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"}], "redesigned": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "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."}], "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."}], "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."}], "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."}], "absurd": [{"id": "27", "sentence": "It's absurd when you start to think about it."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "data.perseus.org/citations/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?"}], "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."}], "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."}], "15:00": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "acousmatic": [{"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "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."}], "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."}], "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."}], "Debatty": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "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."}], "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."}], "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."}], "gather": [{"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "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."}], "Tell'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."}], "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."}], "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."}], "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."}], "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."}], "implosions": [{"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "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."}], "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."}], "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."}], "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."}], "execution": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final 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": "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."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "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."}], "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."}], "helped": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "billion": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "boat": [{"id": "27", "sentence": "You have to take a boat to get there."}], "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."}], "instructed": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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."}], "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."}], "happening": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}], "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."}], "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."}], "machines": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "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?"}], "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."}], "Aurelie": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "Näätämö/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."}], "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."}], "combination": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "Stephen": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "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 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": "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": "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": "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 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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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 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": "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 '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 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": "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."}], "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."}], "funding": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "alchemy": [{"id": "27", "sentence": "It’s a kind of sound alchemy."}], "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."}], "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."}], "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."}], "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."}], "Enrique": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "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."}], "recreate": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "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."}], "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."}], "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."}], "0.45": [{"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."}], "flying": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "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."}], "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."}], "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."}], "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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."}], "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."}], "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."}], "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."}], "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."}], "exploitation": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "soldiers": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "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."}], "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!"}], "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."}], "misuse": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "thread": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "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."}], "abroad.We": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "sung": [{"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "20:00": [{"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": "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": "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."}], "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."}], "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'."}], "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."}], "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "flapping": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "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."}], "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."}], "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."}], "fully": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "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."}], "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."}], "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."}], "multi-instrumentalist": [{"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "frikativ": [{"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "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."}], "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."}], "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."}], "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."}], "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."}], "decide": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}], "VANHOOF": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "size": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "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."}], "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."}], "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."}], "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."}], "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."}], "controls": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "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."}], "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."}], "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."}], "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."}], "ore.'": [], "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!"}], "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."}], "rendition": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "long-duration": [{"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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..."}], "0.35": [{"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."}], "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 ."}], "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."}], "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)."}], "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."}], "guarantees": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "artistry": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "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."}], "Patrick": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "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'."}], "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."}], "geologists": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "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."}], "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."}], "documenting": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}], "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."}], "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."}], "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."}], "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."}], "Curran": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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."}], "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."}], "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."}], "returned": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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?"}], "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."}], "recognisable": [{"id": "06", "sentence": "Does this sound recognisable to you?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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": "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": "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 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."}, {"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."}], "Iraq": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "universal": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "deck": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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"}], "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!"}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "tenuous": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "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."}], "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."}], "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."}], "More": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "originates": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "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."}], "conceptualisation": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "government": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "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."}], "poured": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "ti": [{"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Caribbean": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "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."}], "harbour": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "gallium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "micro-capacitors": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "Anitation": [{"id": "22", "sentence": "Anitation' is the term for animated notation."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Amersfoort": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "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."}], "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."}], "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."}], "communicated": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "urban": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}], "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."}], "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."}], "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."}], "trickster": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "weird": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "fiercely": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "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."}], "Institutions": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "generators": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "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."}], "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."}], "survival": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "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."}], "Yuki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "score/light": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Every": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Hailing": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "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."}], "performs": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "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."}], "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."}], "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."}], "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."}], "monastery": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "Rotterdam/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."}], "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."}], "Despite": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "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."}], "homage": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "slivers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "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."}], "seconds": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "Quietude": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Following": [{"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}], "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."}], "respond": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "aspects": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "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."}], "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."}], "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."}], "imagine": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}], "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."}], "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."}], "scar": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "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."}], "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?"}], "exhausted": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Ziolkowski": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "canvas": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "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"}], "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."}], "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."}], "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."}], "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’."}], "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."}], "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."}], "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."}], "U.N": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "1926–5": [{"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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Anthem": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "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."}], "B": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "multi-vocal": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "Princeton": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "sonar": [{"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "recorder": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "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."}], "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."}], "reveals": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "multidisciplinary": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}], "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."}], "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."}], "manages": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}], "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."}], "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."}], "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."}], "appropriation": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "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."}], "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."}], "intact": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "use/application": [{"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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++."}], "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."}], "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."}], "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."}], "assemble": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "Fengjastrútur": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "weekend": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "Dust": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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": "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": "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": "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": "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."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "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'."}], "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."}], "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."}], "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."}], "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."}, {"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."}], "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."}], "Asteroids": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "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."}], "Scarlet": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "copier'": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}, {"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "phenomena": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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'."}], "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."}], "nessecary": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "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."}], "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."}], "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."}], "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."}], "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."}], "hall": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "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."}], "plan": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "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."}], "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."}], "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."}], "block": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}], "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."}], "Subcultures": [{"id": "20", "sentence": "Subcultures form through music."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Schaeffer": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "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."}], "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."}], "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’."}], "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."}], "tunnel": [{"id": "27", "sentence": "We have a tunnel that leads there."}], "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."}], "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?"}], "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."}], "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."}], "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?"}], "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."}], "Scherzinger": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "alternate": [{"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "restriction": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}], "nonsense": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}], "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."}], "sedimentologists": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "Earthquake": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "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!"}], "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'."}], "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."}], "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."}], "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."}], "pairs": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "JUBILEE": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}], "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."}], "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."}], "70,200": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "Shit": [{"id": "06", "sentence": "Shit like that, really great stuff."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "security": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "inhabits": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "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."}], "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."}], "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."}], "vitality": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "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?"}], "150": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "blast": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Slow": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "Transparent": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "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."}], "trains": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "yodel": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "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."}], "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."}], "mathematical": [{"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}], "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."}], "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."}], "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."}], "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."}], "regarded": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "": [{"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": "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": "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": "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": "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": "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": "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": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"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": "For every performance a different instrument has been selected."}, {"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": "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": "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": "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": "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": "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": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"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": "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": "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": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"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": "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": "03", "sentence": "Kris Delacourt)."}, {"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": "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": "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": "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": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"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 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": "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": "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 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": "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": "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."}, {"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": "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": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"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": "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": "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": "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": "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": "05", "sentence": "The making of editions can be understood in this context."}, {"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": "The final installation will have twelve separate pieces: A complete octave."}, {"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": "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": "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": "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 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": "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": "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": "The office material, those colourful little dots."}, {"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": "Abstract poetry."}, {"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": "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": "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": "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": "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": "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": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"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": "Office material really, those colourful little dots."}, {"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": "It just rang as very poetic to me."}, {"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": "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": ", that I went in that direction."}, {"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": "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": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"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": "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": "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": "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": "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": "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": "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": "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": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"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": "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": "I guess I do tend to overthink things, hah."}, {"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": "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": "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": "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": "End of piece."}, {"id": "06", "sentence": "That was an amazing moment."}, {"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": "So that's what happened."}, {"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": "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": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Why was that?"}, {"id": "06", "sentence": "What was the problem?"}, {"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": "I guess that fear was much more of an issue with DOB Records."}, {"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": "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": "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": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"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": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"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": "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": "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": "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": "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": "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 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": "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": "What you think about this statement?"}, {"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": "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": "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": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"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": "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": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"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": "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": "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": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"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": "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": "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": "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": "That's just another way of letting things go, of giving up control."}, {"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": "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": "And a statement..."}, {"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": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"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": "I don't feel this record has that."}, {"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": "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": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"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": "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": "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": "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": "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": "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": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until I tried it."}, {"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": "It's strangely hypnotising."}, {"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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"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": "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": "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": "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": "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": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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 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": "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": "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": "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": "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": "A seventh note, 'si' or 'ti', was added later."}, {"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": "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": "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": "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": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "Sacrificing, 2."}, {"id": "12", "sentence": "Representing, 3."}, {"id": "12", "sentence": "Repeating, 4."}, {"id": "12", "sentence": "Post-Repeating."}, {"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 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": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"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": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"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": "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": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"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": "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": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"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": "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": "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": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"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 style and/or genre determine the identity."}, {"id": "20", "sentence": "New generations are born."}, {"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": "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": "Signification also plays a major role in this."}, {"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": "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": "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."}, {"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": "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": "Fersteinn plays from animations made as compositions on a laptop."}, {"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": "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": "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": "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": "This means animated notation."}, {"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": "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": "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": "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": "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": "It inhabits a world where grids or straight lines are almost non-existent."}, {"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 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": "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": "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": "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": "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": "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": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"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 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": "By acting consistently within these structures he creates his works."}, {"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 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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"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": "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": "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": "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": "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": "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": "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": "Where does mining stop?"}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"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": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"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": "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": "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": "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": "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": "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": "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": "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": "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": "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": "The mountain just sits there."}, {"id": "27", "sentence": "The sounds are environmental."}, {"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": "Throughout the landscape there are sacred stones that are very important to them."}, {"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": "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'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": "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": "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": "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": "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": "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": "Sometimes this can go horribly wrong."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"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 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 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": "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": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}, {"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": "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": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"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": "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": "The sound of the mine was always present."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"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": "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": "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": "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": "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": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "That is quite scary."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "What shifts will we see?"}, {"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": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"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": "Different types of stone give different frequency readings."}, {"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": "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": "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": "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 is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "27", "sentence": "I apply filters, use electronics."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"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": "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": "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": "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": "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": "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": "He also made periodic broadcasts from his own home."}, {"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": "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": "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": "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": "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": "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": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"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": "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": "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": "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": "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": "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'."}, {"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": "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": "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": "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": "This creates strong graphic works and partly blackens out the original score."}, {"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'."}, {"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": "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": "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": "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": "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": "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."}], "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."}], "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."}], "perceptions": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Cultural": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "S.L.Á.T.U.R": [{"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": "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": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "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."}], "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."}], "reproductive": [{"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "poster": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "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!"}], "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."}], "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."}], "detonation": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "separate": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}], "flaws": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "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."}], "67P/Churyumov–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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "musicology": [{"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "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."}], "Oh": [{"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}], "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."}], "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."}], "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)."}], "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."}], "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?"}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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’."}], "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."}], "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."}], "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."}], "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."}], "undertakes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Transformation": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Silence": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "Murmansk": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "scholarly": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "Chico": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Besides": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "three-dimensional": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "power": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "withdrawal": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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."}], "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."}], "nuclear": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "exhibited": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "aligned": [{"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}], "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."}], "incredible": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "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."}], "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."}], "Stockhausen": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "crackles": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "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."}], "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?"}], "grids": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "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."}], "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."}], "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."}], "obviously": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "funnily": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "window": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "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."}], "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'."}], "pushed": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "DETUNING/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?"}], "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."}], "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."}], "absent": [{"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}], "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."}], "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."}], "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."}], "tuning": [{"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "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"}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Bottle": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "joined": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "mediation": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "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."}], "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?"}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "opposed": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "refining": [{"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "represented.We": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "unite": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "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."}], "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."}], "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'."}], "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)."}], "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."}], "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."}], "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."}], "Embodiment": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "sundown": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "mineral": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "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."}], "distils": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "sheer": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "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."}], "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."}], "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."}], "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."}], "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."}], "laptop.Derek": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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?"}], "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’."}], "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?"}], "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."}], "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."}], "ethical": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "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."}], "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."}], "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."}], "African": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "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."}], "aim": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}], "Intersections": [{"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "psyche": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "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."}], "Join": [{"id": "06", "sentence": "Join the community."}], "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."}], "calls": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "presentations": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "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."}], "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."}], "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."}], "serve": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "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."}], "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)."}], "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."}], "technician": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "remind": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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."}], "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."}], "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."}], "band/art": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "soundings": [{"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "Office": [{"id": "06", "sentence": "Office material really, those colourful little dots."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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++."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Ingi": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "arriving": [{"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "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."}], "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."}], "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."}], "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."}], "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."}], "23:00": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "ELECTRONIC": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "Kees": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "Emptiness": [{"id": "23", "sentence": "Emptiness has that same relation with notation."}], "suited": [{"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "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."}], "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."}], "unconventional": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}]}
|