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{"occurs": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "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."}], "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."}], "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."}], "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."}], "'graphical": [], "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."}], "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."}], "statistics": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "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."}], "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."}], "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."}], "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."}], "superiority": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "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."}], "'Slow": [], "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."}], "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."}], "Sacrificing": [{"id": "12", "sentence": "Sacrificing, 2."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "'Blag": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "scarcely": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "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."}], "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."}], "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."}], "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."}], "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."}], "actualisation": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "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."}], "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."}], "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."}], "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."}], "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."}], "unwanted": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "seemed": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}], "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."}], "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."}], "brutal": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}], "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."}], "'Different": [], "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."}], "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."}], "real": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "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."}], "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."}], "musician–": [], "soundings": [{"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "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."}], "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?"}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Change": [], "aims": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "performs": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "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."}], "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."}], "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 ."}], "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."}], "Due": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "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."}], "anything": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Burning": [], "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."}], "'For": [], "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."}], "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."}], "playground": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "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."}], "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."}], "pairs": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "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."}], "'Drip": [], "most-known": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "Right": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "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."}], "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."}], "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."}], "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."}], "&": [{"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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "West": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "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."}], "decide": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}], "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."}], "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."}], "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."}], "'Beware": [], "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."}], "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."}], "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."}], "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"}], "1990": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "analogous": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "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."}], "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."}], "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'."}], "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."}], "Join": [{"id": "06", "sentence": "Join the community."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "imagine": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}], "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."}], "ambiguity": [{"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}], "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."}], "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."}], "Kuzbass": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "today": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "custom-built": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Caribbean": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "inserting": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "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."}], "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."}], "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."}], "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'."}], "sedimentologists": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "Shit": [{"id": "06", "sentence": "Shit like that, really great stuff."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "manual": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Gon": [], "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."}], "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."}], "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."}], "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."}], "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."}], "Otherwise": [{"id": "06", "sentence": "Otherwise you're not an artist."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "represented.We": [], "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."}], "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."}], "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'."}], "'Product": [], "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."}], "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."}], "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."}], "comparatively": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "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."}], "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."}], "abroad.We": [], "fairly": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "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?"}], "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."}], "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."}], "psyche": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "contemplation": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "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."}], "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."}], "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."}], "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."}], "analytical": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "German": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "forced": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "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."}], "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."}], "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."}], "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'."}], "game": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "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."}], "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."}], "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."}], "spontaneous": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "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."}], "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."}], "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."}], "black": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "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."}], "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"}], "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."}], "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."}], "arriving": [{"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "tenuous": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "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."}], "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'."}], "work": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "won": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "'Almost": [], "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."}], "8-INCH": [{"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "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."}], "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."}], "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."}], "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."}], "'tried-and-failed": [], "New": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "20", "sentence": "New generations are born."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Blood": [], "symbolise": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "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?"}], "rendition": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "'ensuring": [], "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."}], "apply": [{"id": "27", "sentence": "I apply filters, use electronics."}], "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."}], "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."}], "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 ."}], "believes": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "trickster": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "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."}], "continuity": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "clever": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "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."}], "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."}], "This": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "apparatus": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "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."}], "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."}], "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."}], "Bart": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "'Earthquake": [], "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."}], "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."}], "pulsations": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "to": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "to him."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "Schaeffer": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "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."}], "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'."}], "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."}], "'Shot": [], "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."}], "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"}], "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."}], "vs": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Antwerp-based": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Beginning": [], "atop": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}], "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."}], "'dirty": [], "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."}], "CITG": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "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 ."}], "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."}], "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."}], "Cultural": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "In": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "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."}], "Timberlake": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "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."}], "150": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "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."}], "Rhythm": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "exhausted": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "urban": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}], "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."}], "coded": [{"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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?"}], "S.L.Á.T.U.R.": [], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "drawing": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "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."}], "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."}], "'Carolyna": [], "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."}], "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."}], "Perhaps": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "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."}], "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."}], "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."}], "complimentary": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "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."}], "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."}], "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."}], "'1973": [], "younger": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "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."}], "p.": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "The": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Transmitted": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "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."}], "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."}], "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."}], "Stockhausen": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "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."}], "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."}], "utopian": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "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."}], "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."}], "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."}], "inspiring": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "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."}], "VANHOOF": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "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."}], "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."}], "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."}], "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."}], "certainly": [{"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "designing": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "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."}], "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."}], "poster": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "regeneration": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "unable": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "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)."}], "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."}], "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."}], "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."}], "B": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "programmer": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "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."}], "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."}], "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."}], "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."}], "fought": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "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."}], "'TheTrueEnd": [], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "musique": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "'About": [], "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."}], "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."}], "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."}], "Silence": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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."}], "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."}], "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."}], "demonstrate": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "'Resonanz": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "tuning": [{"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "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 ."}], "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."}], "invisible": [{"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "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."}], "Kuro": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "30,000": [{"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "manages": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}], "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."}], "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."}], "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."}], "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."}], "scary": [{"id": "27", "sentence": "That is quite scary."}], "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."}], "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."}], "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"}], "multi-vocal": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "'Guide": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "encountered": [{"id": "06", "sentence": "We first encountered 'Principium 1.0'."}], "manifesto": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "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."}], "'poésie": [], "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."}], "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."}], "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": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "'slambanken": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "oriented": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "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."}], "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."}], "'Blue": [], "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."}], "acting": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "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."}], "'Radical": [], "St.": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "sign": [{"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}], "'Armageddon": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "uninhabitable": [{"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "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."}], "wind": [{"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Pasvik": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "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."}], "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."}], "'cheironmy": [], "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."}], "'Acrylic": [], "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."}], "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."}], "yodel": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "contributing": [{"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "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."}], "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."}], "Haraldsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "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."}], "helped": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "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."}], "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."}], "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."}], "'Alarm": [], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "lure": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "blue": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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!"}], "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."}], "coding": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}], "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."}], "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."}], "gallium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "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."}], "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."}], "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."}], "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."}], "complimented": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}], "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."}], "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."}], "Thirteen": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "pen": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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'."}], "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 ."}], "'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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "captures": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "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."}], "sound": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "selected": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}], "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."}], "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."}], "'Bones": [], "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."}], "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."}], "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."}], "multidisciplinary": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}], "facets": [{"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}], "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?"}], "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."}], "Gohan": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "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."}], "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."}], "unconventional": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "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."}], "performance-based": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "'Gawker": [], "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."}], "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."}], "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."}], "plunder": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "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."}], "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."}], "'drawing": [], "person": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "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."}], "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."}], "mathematical": [{"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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..."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Row": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}], "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."}], "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."}], "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."}], "Chico": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Post-Repeating": [{"id": "12", "sentence": "Post-Repeating."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "evoking": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Back": [], "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."}], "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."}], "'musique": [], "Kampen": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "alternate": [{"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "sphere": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "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."}], "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."}], "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."}], "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."}], "'Black": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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"}], "'Anthem": [], "'Intersections": [], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "'Break": [], "'Principium": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "somehow": [{"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'splatter-chords": [], "government": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Ca": [], "'Barbie": [], "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."}], "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."}], "dare": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}], "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."}], "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."}], "other": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "hands": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "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."}], "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?"}], "Far": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "silos": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "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."}], "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."}], "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."}], "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."}], "levels": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "teachers": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "]": [], "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."}], "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."}], "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."}], "Inspiration": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "side": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "little…": [], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "assessment": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}], "consonants": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "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."}], "phenomena": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}], "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."}], "'open": [], "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."}], "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."}], "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'."}], "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."}], "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."}], "blackens": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "flying": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "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."}], "ore.": [], "t": [{"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": "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 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 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": "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 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": "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 decide which parts 'work' on an album, and which don't?"}, {"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."}, {"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": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"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": "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": "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."}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"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": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The 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"}, {"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 doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"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."}], "DRIVE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "'turn": [], "rang": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "facade": [{"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "nonsense": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}], "Principium": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "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."}], "status": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "seventh": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "Arezo": [{"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "haunting": [{"id": "27", "sentence": "These questions are really haunting me ."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "blazing": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "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."}], "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."}], "filters": [{"id": "27", "sentence": "I apply filters, use electronics."}], "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."}], "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."}], "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."}], "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."}], "documenting": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}], "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."}], "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."}], "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."}], "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"}], "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?"}], "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."}], "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."}], "'VAGUE": [], "An": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "shift": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "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."}], "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."}], "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."}], "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."}], "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."}], "multicultural": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "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."}], "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."}], "logistic": [{"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}], "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."}], "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."}], "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."}], "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?"}], "fiercely": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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’."}], "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."}], "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."}], "Timidity++": [], "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."}], "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."}], "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."}], "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."}], "interference": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "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."}], "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."}], "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."}], "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."}], "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."}], "WdW": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "Carl": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "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."}], "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."}], "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."}], "Dr.": [], "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."}], "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."}], "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."}], "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."}], "facility": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "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."}], "'Calm": [], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "'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."}], "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."}], "opposed": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "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."}], "'recording": [], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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)."}], "accessibility": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "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."}], "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."}], "'Con": [], "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."}], "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."}], "JUBILEE": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}], "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."}], "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."}], "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."}], "Akan": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "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."}], "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."}], "Crumb": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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."}], "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."}], "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."}], "Sunblock": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "Which": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "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."}], "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."}], "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."}], "'505": [], "storage": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "mailed": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "'Crazy": [], "instrumentalise": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "'Best": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "...": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "poésie": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "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."}], "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"}], "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."}], "'energy": [], "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."}], "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."}], "Patrick": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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"}], "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."}], "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."}], "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."}], "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."}], "fully": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "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."}], "'Mass": [], "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."}], "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."}], "consistently": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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?"}], "continuous": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "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."}], "Oh": [{"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}], "'Be": [], "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."}], "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."}], "thermal": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "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."}], "roughly": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "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."}], "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."}], "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."}], "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."}], "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."}], "cubic": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "size": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "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."}], "thinks": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Different": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "Fratelli": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Anonymous": [], "so": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "T": [{"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": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "exchanges": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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."}], "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."}], "Besides": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "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."}], "Nicole": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "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."}], "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."}], "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."}], "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."}], "monastery": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "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."}], "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."}], "partly": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "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?"}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "care": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Are": [], "If": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "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."}], "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."}], "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."}], "Romanticism": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "'Beautiful": [], "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."}], "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."}], "'By": [], "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."}], "flaws": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "'An": [], "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."}], "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."}], "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."}], "'Event": [], "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."}], "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."}], "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."}], "nightmare..": [], "'Naturalis": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "regarded": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "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."}], "minus": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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."}], "wrong": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "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."}], "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."}], "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."}], "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."}], "serve": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "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."}], "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."}], "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."}], "absurd": [{"id": "27", "sentence": "It's absurd when you start to think about it."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "percentage": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "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."}], "'Noise": [], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Schematics": [], "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."}], "extremis": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "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."}], "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."}], "deck": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "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."}], "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."}], "s": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Following": [{"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "billion": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "Knowledge": [{"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "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!"}], "Those": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "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."}], "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..."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "philosophy": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "reminded": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "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."}], "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."}], "desired": [{"id": "27", "sentence": "All to get to the desired result: The gold!"}], "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."}], "implosions": [{"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "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."}], "mediation": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "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."}], "multi-instrumentalist": [{"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "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."}], "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."}], "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."}], "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')."}], "weeks": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "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."}], "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."}], "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."}], "misuse": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Sculptress": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}], "southwestern": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "conceptually": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "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."}], "biotopes": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "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."}], "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."}], "interpret": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "'s": [{"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": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "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": "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": "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": "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": "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": "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."}], "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."}], "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."}], "hematite": [{"id": "27", "sentence": "We can see layers of hematite."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'blackers": [], "Stephen": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "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."}], "Filo": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Black": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "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."}], "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."}], "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?"}], "engine": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "block": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}], "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."}], "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."}], "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."}], "Atari": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "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."}], "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."}], "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."}], "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."}], "security": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "scales": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "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."}], "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."}], "OBJECT": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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."}], "discursive": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "reveals": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "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."}], "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."}], "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."}], "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."}], "copier'": [], "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."}], "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."}], "spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}], "generations": [{"id": "20", "sentence": "New generations are born."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "seconds": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "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)."}], "Emptiness": [{"id": "23", "sentence": "Emptiness has that same relation with notation."}], "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."}], "'Battle": [], "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."}], "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."}], "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."}], "stated": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "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)."}], "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."}], "species": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Þórðarsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Brianstorm": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Pushing": [], "Plantenga": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "settle": [{"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "strangely": [{"id": "07", "sentence": "It's strangely hypnotising."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "killed": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "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."}], "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."}], "'animation": [], "Fersteinn": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "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."}], "amplitude": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "card": [{"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "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."}], "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."}], "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."}], "aesthetic": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "blending": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'MUSIC": [], "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."}], "'to": [], "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."}], "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."}], "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."}], "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!"}], "situation": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "definitive": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "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."}], "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."}], "'telephone": [], "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."}], "deltas": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "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."}], "ethical": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "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."}], "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."}], "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."}], "'Desecration": [], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "'Can": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "exhibited": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "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."}], "'Books": [], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "subjects": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "two-year": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "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."}], "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."}], "Transparent": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "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."}], "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."}], "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."}], "'Bleed": [], "title": [{"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "'kullbingen": [], "guy": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "magazine.DE": [], "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."}], "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."}], "visits": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "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."}], "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."}], "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"}], "obviously": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "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."}], "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."}], "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."}], "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."}], "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."}], "reflective": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "engineered": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}], "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."}], "America": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "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."}], "abilities": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "reciprocity": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}], "'non-musical": [], "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."}], "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."}], "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."}], "placing": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "conceptual": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "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."}], "'Greatest": [], "Frith": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "dirty": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}], "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."}], "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."}], "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."}], "'Backfire": [], "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."}], "food": [{"id": "31", "sentence": "Good food and drinks were served."}], "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."}], "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"}], "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."}], "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."}], "guests": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "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."}], "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."}], "problem": [{"id": "06", "sentence": "What was the problem?"}], "CONCRETE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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?"}], "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."}], "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."}], "generates": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "articulators": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "Quite": [{"id": "06", "sentence": "Quite the contrary, actually."}], "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."}], "EDITION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "box/kinetic": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}], "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."}], "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."}], "afterwards": [{"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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’."}], "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."}], "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."}], "grey": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Hausswolff": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "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."}], "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."}], "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."}], "curious": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Fremdarbeit": [], "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?"}], "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."}], "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."}], "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?"}], "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."}], "harbour": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "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?"}], "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."}], "entities": [{"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "perspex": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "focal": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'You": [], "options": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "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."}], "creativity": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "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."}], "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."}], "energy": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "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."}], "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."}], "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."}], "literally": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "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."}], "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."}], "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."}], "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."}], "pinning": [{"id": "06", "sentence": "Art is not pinning things down."}], "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."}], "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."}], "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."}], "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."}], "'Para-phonic": [], "passes": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "cleaning": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "mapped": [{"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}], "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."}], "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!"}], "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."}], "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."}], "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"}], "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."}], "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."}], "titles": [{"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "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."}], "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."}], "2016–2017": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "crackles": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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 has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "intelligible": [{"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}], "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."}], "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."}], "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."}], "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."}], "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."}], "perfect": [{"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Jazz": [], "canvas": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "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."}], "'reciprocal": [], "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."}], "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."}], "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."}], "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."}], "water": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "Repeating": [{"id": "12", "sentence": "Repeating, 4."}, {"id": "12", "sentence": "Post-Repeating."}], "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."}], "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."}], "pieces.Johannes": [], "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."}], "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?"}], "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."}], "tunnel": [{"id": "27", "sentence": "We have a tunnel that leads there."}], "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."}], "overlaps": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "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."}], "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."}], "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."}], "Empty": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "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."}], "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."}], "editions": [{"id": "05", "sentence": "The making of editions can be understood in this context."}], "Because": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "Before": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "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."}], "adapters": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "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."}], "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."}], "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."}], "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."}], "recreate": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "Subcultures": [{"id": "20", "sentence": "Subcultures form through music."}], "African": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "'Alfie": [], "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."}], "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."}], "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."}], "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."}], "respond": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Zürich": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "scar": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "harmonies": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Axle": [], "'Carlson": [], "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."}], "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."}], "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."}], "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."}], "Mass": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "periods": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}], "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."}], "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?"}], "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."}], "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."}], "'GREATEST": [], "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?"}], "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."}], "counterpart": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "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."}], "Earth": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "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."}], "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?"}], "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."}], "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."}], "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!"}], "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."}], "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."}], "allegorical": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "drinks": [{"id": "31", "sentence": "Good food and drinks were served."}], "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."}], "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’."}], "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."}], "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."}], "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."}], "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."}], "'Better": [], "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."}], "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."}], "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."}], "window": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "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."}], "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."}], "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."}], "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."}], "periodic": [{"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "straightforward": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "Murmansk": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "photovoltaics": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Fengjastrútur": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Aurelie": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "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?"}], "'Adagio": [], "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'."}], "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."}], "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."}], "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."}], "dancer": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "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"}], "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."}], "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."}], "Scherzinger": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "need": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "underneath": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "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."}], "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"}], "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."}], "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)."}], "'Always": [], "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."}], "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."}], "outhouse": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "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."}], "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."}], "trains": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "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."}], "comparisons": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "Stump": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "cooperation": [{"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "yodeling": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "hardly": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "rare": [{"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "assisting": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "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."}], "counterpoints": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "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'."}], "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."}], "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."}], "'SEQUENCER": [], "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."}], "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."}], "experimentation": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "Breaking": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "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."}], "Theodore": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "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."}], "revenue": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "Metropolis": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "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."}], "participatory": [{"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Ping": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "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."}], "'stop": [], "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."}], "Miami": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "prostitute": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "plan": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "execution..": [], "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."}], "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."}], "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."}], "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."}], "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."}], "Do": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "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."}], "stuck": [{"id": "24", "sentence": "The system was therefore completely stuck."}], "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."}], "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."}], "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."}], "ELECTRONIC": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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."}], "setting": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "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."}], "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."}], "ORE": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}], "Peri": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "tens": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "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."}], "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."}], "inhabits": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'In": [], "presence": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "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."}], "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."}], "R.": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Dance": [], "north": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "stressed": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "'PUSHING": [], "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."}], "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."}], "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."}], "generation": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "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."}], "viewed": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "dissent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "GesammttkkunnsttMeshuggahhLaandtttt": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "sonar": [{"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}], "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."}], "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."}], "'German": [], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "funding": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "combination": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "states": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}], "believing": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "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."}], "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?"}], "Drivers": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "'Bed": [], "billboards": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "micro-capacitors": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "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."}], "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."}], "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."}], "stores": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "technician": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "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."}], "clockwork": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Burn": [], "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."}], "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."}], "You": [{"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "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."}], "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!"}], "'Closer": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Breathless": [], "graphic": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "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."}], "meant": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}], "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."}], "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’."}], "theme": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Transformation": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "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."}], "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."}], "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."}], "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."}], "artistry": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "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."}], "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."}], "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."}], "oldest": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "virtual": [{"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}], "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."}], "text-sound": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "examine": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "pauses": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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'."}], "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."}], "Montgermont": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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."}], "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."}], "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."}], "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."}], "disturber": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "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."}], "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."}], "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."}], "x": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}], "one-time": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}], "hall": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "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)."}], "'Boogie": [], "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."}], "'presence": [], "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."}], "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."}], "1979": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "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."}], "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."}], "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."}], "colors": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "Flenger": [{"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "refuses": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}], "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."}], "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."}], "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 ."}], "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 ."}], "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."}], "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."}], "personifying": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "'This": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "Debatty": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "na": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "host": [{"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "DIVERSE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "'Official": [], "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."}], "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."}], "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."}], "'Annie": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Autumnsong": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "'graphic": [], "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."}], "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."}], "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."}], "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."}], "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."}], "authors": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "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."}], "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."}], "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."}], "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."}], "pigeons": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "blast": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "tantalum": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "materialisation": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "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."}], "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."}], "arachnids": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "God": [{"id": "23", "sentence": "Before God needed to be invented there were man."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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'."}], "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."}], "continue": [{"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "neumens": [{"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "'Tempest": [], "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."}], "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."}], "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."}], "'Crash": [], "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."}], "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."}], "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"}], "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'."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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'."}], "'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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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"}], "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."}], "Ziolkowski": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Big": [], "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."}], "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 ."}], "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."}], "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."}], "Eindhoven": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}], "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."}], "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."}], "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 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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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'sound": [], "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."}], "meets": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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’."}], "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."}], "Pong": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Pa-Ra-Di-So": [], "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."}], "start": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}], "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."}], "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'."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "interacting": [{"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}], "noises": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Counting": [], "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."}], "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."}], "Queen": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "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."}], "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."}], "nessecary": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Baby": [], "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."}], "Bischoff": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Owen": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "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."}], "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’."}], "machines": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "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."}], "aimed": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}], "settles": [{"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}], "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."}], "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?"}], "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?"}], "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."}], "Bottle": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "—": [], "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'."}], "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."}], "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."}], "'cheironomy": [], "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."}], "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."}], "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."}], "'Anitation": [], "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."}], "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."}], "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."}], "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."}], "calls": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "//macumbista.net": [], "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."}], "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."}], "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."}], "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."}], "quo": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "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."}], "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."}], "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."}], "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."}], "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."}], "assemble": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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."}], "Morse": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "'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."}], "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."}], "long-duration": [{"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Aux": [], "'Any": [], "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."}], "By": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "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'."}], "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."}], "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."}], "Bringing": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "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."}], "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."}], "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."}], "'Crank": [], "geophones": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "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."}], "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."}], "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."}], "navigating": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "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."}], "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."}], "consent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Away": [], "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."}], "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."}], "recognisable": [{"id": "06", "sentence": "Does this sound recognisable to you?"}], "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."}], "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."}], "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."}], "lengths": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}], "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."}], "weekend": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "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."}], "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."}], "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."}], "lights": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "pit": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Verostko": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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 ."}], "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."}], "sessions": [{"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}], "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."}], "'Balloons": [], "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."}], "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."}], "Improper": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Yukki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "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."}], "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."}], "situ": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "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."}], "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."}], "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."}], "HITS'": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "doubts": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Institutions": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "conceptualisation": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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)."}], "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"}], "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."}], "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."}], "'hands": [], "self-education": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "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."}], "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."}], "telephone": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "driver": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "pushed": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Arachnes": [], "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."}], "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?"}], "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."}], "extends": [{"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "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."}], "Modernity": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "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."}], "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."}], "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."}], "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."}], "Except": [{"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "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?"}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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?"}], "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."}], "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."}], "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."}], "'spider": [], "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."}], "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."}], "'Dancing": [], "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."}], "turn": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "'Bad": [], "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."}], "'so": [], "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."}], "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 ."}], "'If": [], "base": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "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."}], "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'."}], "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."}], "sheer": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "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."}], "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."}], "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?"}], "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."}], "'Anarchy": [], "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."}], "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."}], "placed": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "special": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}], "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."}], "voltage": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "'Chelsea": [], "naive": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "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."}], "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."}], "force": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "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."}], "Ingi": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Clumsy": [], "seamlessly": [{"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "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."}], "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."}], "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."}], "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."}], "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."}], "homage": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "Norway": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "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."}], "safer": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "niobium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "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."}], "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."}], "Every": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "1977": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "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."}], "Bites": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "%": [], "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."}], "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."}], "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'."}], "'TUNING": [], "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."}], "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."}], "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."}], "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?"}], "'Mining": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Cupid": [], "cash": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "intact": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "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."}], "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."}], "cheap": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "'Perfect": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "discussions": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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++."}], "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."}], "Interestingly": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "'New": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "encompasses": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "communicated": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "iconic": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "'The": [], "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."}], "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."}], "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."}], "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."}], "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."}], "'Rock": [], "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'."}], "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."}], "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."}], "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."}], "initially": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Fricatives": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "ore.'": [], "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."}], "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."}], "limit": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Clothes": [], "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."}], "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."}], "his/her": [{"id": "09", "sentence": "Each student could design his/her own project on this medium."}], "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."}], "recorder": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "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?"}], "Finnish": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "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."}], "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."}], "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."}], "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."}], "support": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "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."}], "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."}], "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."}], "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."}], "Q": [{"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}], "n't": [], "Quietude": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Software": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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++."}], "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?"}], "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."}], "Rivière": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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."}], "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."}], "poured": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "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."}], "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."}], "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."}], "attract": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "grew": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "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."}], "distils": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Chain": [], "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."}], "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."}], "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?"}], "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."}], "scholarly": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "redesigned": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "Line": [{"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Aalto": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Régine": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "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."}], "Until": [{"id": "07", "sentence": "Until I tried it."}], "anxieties": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "slivers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "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."}], "rough": [{"id": "06", "sentence": "So you end up with a first rough selection."}], "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."}], "array": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "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."}], "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"}], "restriction": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}], "Jaðarber": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "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."}], "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."}], "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."}], "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'."}], "guarantees": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "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."}], "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."}], "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."}], "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."}], "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."}], "aligned": [{"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}], "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!"}], "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."}], "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."}], "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."}], "'dialectic": [], "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."}], "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."}], "cause": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "doors": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "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?"}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "lectures": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "HOOF": [{"id": "01", "sentence": "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."}], "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."}], "Product": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Ecology": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "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."}], "M": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "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."}], "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"}], "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!"}], "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'."}], "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."}], "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'."}], "undertakes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Arnaud": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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!"}], "parking": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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."}], "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."}], "transmutation": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "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."}], "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."}], "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."}], "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."}], "'analogous": [], "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."}], "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."}], "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."}], "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."}], "relay": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "'Curvy": [], "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."}], "dismissed": [{"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}], "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."}], "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."}], "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?"}], "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."}], "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!"}], "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."}], "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."}], "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."}], "defective": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "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."}], "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."}], "graphical": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "haiku": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "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."}], "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."}], "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"}], "indeed": [{"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}], "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."}], "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."}], "'Ai": [], "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."}], "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."}], "'neumens": [], "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."}], "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."}], "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."}], "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."}], "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."}], "'Broken": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Musical": [], "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."}], "1972": [{"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "awesome": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}], "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."}], "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."}], "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."}], "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."}], "'Bing": [], "spoken-word": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "counts": [{"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Ingólfsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "'Amazing": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Fylkingen-affiliated": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "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."}], "sung": [{"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "'schematics": [], "'Beggin": [], "enthusiastic": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "lenticulars": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "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."}], "honourable": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "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."}], "keen": [{"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}], "'Vehicle": [], "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."}], "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."}], "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."}], "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."}], "+": [], "Can": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "Aid": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "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."}], "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."}], "Orientation": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "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."}], "musicology": [{"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "mediators": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "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."}], "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'."}], "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."}], "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."}], "'attitude": [], "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."}], "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."}], "dummy": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "coexist": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "weird": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "ahead": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "synthetic": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "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."}], "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?"}], "intuition": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}], "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."}], "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."}], "Pushing": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "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."}], "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."}], "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."}], "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."}], "Huelkorven": [{"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "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."}], "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'."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "Participants": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "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."}], "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."}], "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."}], "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."}], "re": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "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."}], "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."}], "encounter": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "presentations": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "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."}], "activate": [{"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "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."}], "'Before": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'PARA-PHONIC": [], "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."}], "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'."}], "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."}], "'There": [], "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."}], "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."}], "deep": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "'prepared": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'instrumentalisation": [], "prepared": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Only": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "spits": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "inductive": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "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."}], "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."}], "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."}], "More": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "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."}], "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."}], "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."}], "costs.": [], "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."}], "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."}], "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."}], "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."}], "'Bet": [], "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."}], "'Angel": [], "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."}], "soldiers": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'other": [], "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."}], "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'."}], "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."}], "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."}], "'GesammttkkunnsttMeshuggahhLaandtttt": [], "overthink": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "Recording": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "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."}], "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'."}], "'America": [], "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."}], "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."}], "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 ."}], "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 ."}], "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."}], "unite": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "belong": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "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."}], "laptop.Derek": [], "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."}], "'Schematic": [], "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."}], "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."}], "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."}], "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."}], "U.N": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "'the": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "sonification": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "Sadier": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "'Another": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "stay": [{"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "vast": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "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."}], "WIFI": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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"}], "We": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "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."}], "'Cowboy": [], "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."}], "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."}], "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."}], "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."}], "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."}], "absent": [{"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'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."}], "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."}], "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."}], "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."}], "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."}], "recording": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "'We": [], "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."}], "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."}], "chapter": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "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."}], "separate": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}], "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."}], "father": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "soundwaves": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "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'."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "south": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "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."}], "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."}], "Office": [{"id": "06", "sentence": "Office material really, those colourful little dots."}], "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."}], "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."}], "operated": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "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."}], "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."}], "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."}], "'Australia": [], "stochastic": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "magazine/object": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}], "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."}], "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."}], "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."}], "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."}], "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."}], "randomly": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "funnily": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "hypnotising": [{"id": "07", "sentence": "It's strangely hypnotising."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "survival": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "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."}], "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."}], "impressions": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], ".TUNING": [], "1500–1900": [{"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "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."}], "'manual": [], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Crush": [], "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."}], "Belgian": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "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."}], "Workers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Sandy": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Flintstone": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "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?"}], "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."}], "'D.A.N.C.E": [], "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."}], "//sydvarangergruve.no/produkt": [], "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."}], "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."}], "poetic": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "Curran": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Why": [{"id": "06", "sentence": "Why was that?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "'correct": [], "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."}], "reproductive": [{"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}], "contrary": [{"id": "06", "sentence": "Quite the contrary, actually."}], "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."}], "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."}], "'Ayo": [], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "stasis": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "'Jason": [], "'bullet": [], "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."}], "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."}], "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."}], "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?"}], "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."}], "'Dancefloor": [], "Shirasagi": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "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."}], "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."}], "'Bigger": [], "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'."}], "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."}], "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."}], "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."}], "Abstract": [{"id": "06", "sentence": "Abstract poetry."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "aspects": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "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."}], "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."}], "operational": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "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?"}], "l": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Ellis-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."}], "'Bubbly": [], "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!"}], "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."}], "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."}], "Cologne": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "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."}], "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."}], "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."}], "joined": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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."}], "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."}], "hard-": [], "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."}], "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."}], "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."}], "Event": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "All": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "delicate": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "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."}], "'black": [], "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."}], "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."}], "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."}], "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."}], "early-": [], "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)."}], "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."}], "afforded": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "non-existent": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "suited": [{"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "Devil": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "controls": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "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."}], "executive": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "asserts": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "'conceptual": [], "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."}], "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."}], "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."}], "expert": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "Lætitia": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "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."}], "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."}], "intensified": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "intermediary": [{"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}], "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."}], "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."}], "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."}], "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?"}], "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'."}], "screens": [{"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "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."}], "processing…": [], "Atli": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "Cola": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "flapping": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "57th": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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)."}], "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."}], "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."}], "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."}], "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."}], "stages": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "score/light": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "timbres": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "circular": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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."}], "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."}], "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."}], "There": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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..."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "filmmaker": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "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."}], "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."}], "'Borders": [], "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."}], "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."}], "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."}], "mineral": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Charlotte": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Breaking": [], "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."}], "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."}], "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."}], "temporal": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "catalysts": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "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++."}], "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."}], "choose": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "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."}], "acousmatic": [{"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "friend": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "departure": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "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."}], "'anitation": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "St": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "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."}], "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."}], "withdrawal": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Keersemaker": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "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."}], "Úlfar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "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"}], "'Star": [], "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 ."}], "engaged": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "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."}], "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'."}], "Everything": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'detuning": [], "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."}], "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."}], "'Apologize": [], "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?"}], "STATION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "promoting": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "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."}], "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."}], "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."}], "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."}], "beamer": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "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."}], "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."}], "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."}], "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."}], "circumstances": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "horribly": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "Italy": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Do": [], "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."}], "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."}], "'Destination": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "intertwined": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "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."}], "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."}], "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."}], "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"}], "lignite": [{"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}], "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."}], "untouched": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "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."}], "polyurethane": [{"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}], "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."}], "exploitation": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "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!"}], "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."}], "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."}], "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."}], "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."}], "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!"}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "collaborated": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "town": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "proposed": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "ca": [], "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."}], "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."}], "TDK": [{"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "studies": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "contribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "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."}], "'Gingeas": [], "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."}], "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."}], "situations": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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 ."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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?"}], "'1234": [], "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."}], "joint": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "'Dare": [], "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."}], "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."}], "'Represent": [], "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."}], "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."}], "geologists": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "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."}], "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."}], "overall": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'work": [], "Bologna": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "APPLICATIONS": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'extra-musical": [], "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?"}], "'WdW": [], "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."}], "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."}], "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."}], "Embodiment": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "instructed": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "nicely": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}], "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."}], "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."}], "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."}], "shuffled": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "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."}], "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."}], "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."}], "Delft": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "vacuum": [{"id": "27", "sentence": "It created a vacuum after it closed."}], "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."}], "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."}], "boss": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "indictment": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "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."}], "aim": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}], "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."}], "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."}], "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."}], "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."}], "interpretations": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "detonation": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "Post-war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Body": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "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."}], "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."}], "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."}], "'Arnold": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Wrecking": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Did": [{"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "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."}], "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."}], "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."}], "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."}], "'ti": [], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "gather": [{"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "inviting": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "iterations": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "currently": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "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."}], "begin": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "seems": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "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."}], "consciously": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "Kees": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "'start": [], "'UNTITLED": [], "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."}], "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."}], "'Exotica": [], "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."}], "spun": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "similarities": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "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."}], "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."}], "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."}], "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."}], "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."}], "mannerisms": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "devise": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "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."}], "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'."}], "A": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'runtime": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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 ."}], "//pubs.usgs.gov/gip/0167/gip167.pdf": [], "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?"}], "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."}], "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."}], "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."}], "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."}], "PIECES": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Albert-Ludwigs-Universität": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "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."}], "'frakativ": [], "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."}], "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."}], "'frikativ": [], "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."}], "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."}], "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."}], "unorthodox": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "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."}], "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."}], "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."}], "Iglesias": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "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."}], "remind": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "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."}], "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."}], "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."}], "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."}], "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."}], "incredible": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "'Chasing": [], "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."}], "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."}], "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."}], "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"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "readings": [{"id": "27", "sentence": "Different types of stone give different frequency readings."}], "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."}], "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."}], "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."}], "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."}], "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."}], "vitality": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "'deep": [], "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."}], "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."}], "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."}], "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."}], "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."}], "open": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "worthwhile": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "happening": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}], "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."}], "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."}], "Multilingualism": [{"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "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."}], "alchemy": [{"id": "27", "sentence": "It’s a kind of sound alchemy."}], "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."}], "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!"}], "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."}], "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."}], "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?"}], "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."}], "Natives": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "longer": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "Pretty": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}], "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."}], "inclinations": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "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."}], "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."}], "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."}], "feminist": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "execution": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "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."}], "Enrique": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "increased": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "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."}], "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."}], "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."}], "'si": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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?"}], "'Changes": [], "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."}], "'ORE": [], "things.Jörg": [], "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."}], "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."}], "'Clean": [], "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."}], "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."}], "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."}], "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."}], "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."}], "nuclear": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'post-ironic": [], "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."}], "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."}], "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."}], "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."}], "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."}], "'Call": [], "the": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "Quite the contrary, actually."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "sundown": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "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."}], "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?"}], "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."}], "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."}], "'Bleeding": [], "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."}], "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."}], "'Because": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "crossover": [{"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "three-dimensional": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "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."}], "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."}], "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."}], "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."}], "'Fersteinn": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "originates": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "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."}], "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."}], "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."}], "'game": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'VECTOR": [], "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."}], "non-pulse": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "circuitry": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "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."}], "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."}], "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."}], "Yuki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "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."}], "quote": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}], "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'."}], "remoteness": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "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'."}], "[": [], "agree": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "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."}], "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."}], "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."}], "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."}], "LOCAL": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "Band": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "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."}], "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."}], "Scarlet": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "p.34": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "companion": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "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."}], "Nicolas": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "universal": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "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."}], "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."}], "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."}], "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."}], "Its": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "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."}], "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."}], "Nathan": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "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."}], "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."}], "returned": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "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."}], "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."}], "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."}], "loud": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "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."}], "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 ."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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’."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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."}], "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."}], "use/application": [{"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}], "Iraq": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Alvin": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "'real": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "discuss": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "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."}], "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."}], "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."}], "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'."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "curating": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}], "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."}], "refining": [{"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "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."}], "'Spectral": [], "PARA-PHONIC": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "'Dark": [], "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."}], "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"}], "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."}], "relevant": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "generators": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "surrounds": [{"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}], "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."}], "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."}], "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."}], "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."}], "Representing": [{"id": "12", "sentence": "Representing, 3."}], "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."}], "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."}], "'Do-Re-Mi": [], "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."}], "'Delivery": [], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "mechanic": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "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."}], "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."}], "'Catch": [], "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."}], "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'."}], "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."}], "acoustics": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "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."}], "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!"}], "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."}], "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."}], "'All": [], "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."}], "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."}], "Amersfoort": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "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."}], "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."}], "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."}], "'braunkohle": [], "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."}], "thread": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "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?"}], "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."}], "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'."}], "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."}], "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."}], "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."}], "populated": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "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."}], "appropriation": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or 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."}], "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."}], "'Candyman": [], "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."}], "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."}], "'Doing": [], "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."}], "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."}], "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."}], "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."}], "grids": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "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."}], "CH/NL": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "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."}], "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."}], "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."}], "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."}], "chamber": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "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."}], "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."}], "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."}], "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."}], "quietest": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "aspirations": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "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."}], "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."}], "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."}], "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."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "'cracked": [], "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."}], "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."}], "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."}], "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."}], "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."}], ";": [], "'Tennis": [], "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 ."}], "'scola": [], "section": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "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."}], "wants": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "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."}], "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."}], "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"}], "rigorous": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "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'."}], "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."}], "boat": [{"id": "27", "sentence": "You have to take a boat to get there."}], "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."}], "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."}], "For": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "power": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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?"}], "smooth": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "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."}], "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."}], "Siberia": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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?"}], "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'."}], "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'."}], "strange": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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)."}], "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"}], "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."}], "Signification": [{"id": "20", "sentence": "Signification also plays a major role in this."}], "Despite": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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"}], "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."}], "'Anything": [], "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."}], "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."}], "sell": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "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."}], "Asteroids": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "//www.newcriticals.com/deep-mining-deep-time/page-3": [], "'Cry": [], "Princeton": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "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."}], "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."}], "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."}], "stop": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "Where does mining stop?"}], "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."}], "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."}], "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."}], "textures": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "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."}], "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."}], "coming": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "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."}], "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."}], "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."}], "'participatory": [], "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."}], "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."}], "'Necrofantasia": [], "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."}], "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."}], "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."}], "'Acceptable": [], "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?"}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "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."}], "normally": [{"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "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."}], "sensual": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "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."}], "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."}], "Dust": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "perceptions": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "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."}], "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."}], "envision": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "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."}], "improper": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Hailing": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "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."}], "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."}], "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."}], "2.9": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "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."}], "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."}], "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."}], "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."}], "Hilmar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}]}
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