During this evening we focus on the archiving of the Pushing Scores project by **[De Player](https://www.deplayer.nl/)**; A project on the contemporary meaning of the 'graphic score', which has been running for the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?
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. 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. Varia will explain their ideas and approach to this matter.
**[Valentina Vuksic](http://trippingthroughruntime.net/)** will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world.
**[Ana Guedes](http://www.ana-guedes.com/)** is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records.
**Niek Hilkmann** (part of Varia) will present his [UNI](https://nothingmore.work/s/in/our-first-audible-profitable-economy-exhibition/) (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics.
What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?
In an attempt to redefine this concept, DE PLAYER compiles a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development.
Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation.
