Edwin Van Der Heide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Edited by Aaron Cassidy and Aaron Einbond Published by University of Hudders!Eld Press
edited by aaron cassidy and aaron einbond Published by University of Hudders!eld Press University of Hudders!eld Press "e University of Hudders!eld Queensgate Hudders!eld HD1 3DH Email enquiries [email protected] First published 2013 Text © "e Authors 2013 Images © as attributed Every e#ort has been made to locate copyright holders of materials included and to obtain permission for their publication. "e publisher is not responsible for the continued existence and accuracy of websites referenced in the text. All rights reserved. No part of this book may be reproduced in any form or by any means without prior permission from the publisher. A CIP catalogue record for this book is available from the British Library. ISBN 978-1-86218-118-2 Designed and printed by Jeremy Mills Publishing Limited 113 Lidget Street Lindley Hudders!eld HD3 3JR www.jeremymillspublishing.co.uk Contents Acknowledgements vii Contributors ix Introduction xiii Aaron Cassidy and Aaron Einbond Part 1: !eories, Speculations, & Reassessments Interview Ben "igpen 3 Chapter 1 Black Square and Bottle Rack: noise and noises 5 Peter Ablinger Interview Antoine Chessex 9 Chapter 2 Un-sounding Music: noise is not sound 11 James Whitehead ( JLIAT) Interview Alice Kemp (Germseed) 31 Chapter 3 Noise and the Voice: exploring the thresholds of vocal transgression 33 Aaron Cassidy Interview Maja Solveig Kjelstrup Ratkje 55 Chapter 4 Subtractive Synthesis: noise and digital (un)creativity 57 Aaron Einbond Interview Pierre Alexandre Tremblay 77 iii Chapter 5 Noise Music Information -
Press Release | May 30, 2016 the Hague, NL
Press release | May 30, 2016 The Hague, NL International Festival for digital and transdisciplinary art and creativity 12th Edition September 22nd 25th, 2016 TodaysArt 2016 announces the first wave of artists for it’s 12th edition. Pantha du Prince, Nosaj Thing & Daito Manabe, Hiroaki Umeda and NONOTAK will headline this year’s festival with Dutch premières. TodaysArt is pleased to collaborate with a.o. SHAPE, We are Europe, Lisson Gallery and The Creators Project. TodaysArt, the roving festival for digital and transdisciplinary art and creativity, returns to the city center of The Hague. The previous two editions of TodaysArt were based in Scheveningen, the coastal capital of The Netherlands, which emphasized visual art on and around The Pier. This year’s festival will take place from September 22nd to the 25th of September. Once again it will turn it’s focus on the performing art. The opening statement of this year’s festival is a new Drone Shadow of the English artist, James Bridle. An essential question of this year festival is ‘Who owns the city’. With Drone Shadow, TodaysArt asks this question as it relates to the public sphere of the city’s town square. 'Drone Shadow is not just a picture of a drone. It is a diagram of a political system. Drones are also avatars of all of the invisible networked systems that surround us on a daily basis. They stand in for every remote connection we make. Like the internet, they allow us to see and act at a distance but they may also be used against us and others. -
Programme Artikulationen 2017
Programme ARTikulationen 2017 Introduction 2 Research Festival Programme 4 Thursday, 5 October 2017 6 Friday, 6 October 2017 29 Saturday, 7 October 2017 43 Further Doctoral Researchers (Dr. artium), Internal Supervisors and External Advisors 51 Artistic Doctoral School: Team 68 Venues and Public Transport 69 Credits 70 Contact and Partners 71 1 Introduction ARTikulationen. A Festival of Artistic Research (Graz, 5–7 October 2017) Artistic research is currently a much-talked about and highly innovative field of know- ledge creation which combines artistic with academic practice. One of its central features is ambitious artistic experiments exploring musical and other questions, systematically bringing them into dialogue with reflection, analysis and other academic approaches. ARTikulationen, a two-and-a-half day festival of artistic research that has been running under that name since 2016, organised by the Artistic Doctoral School (KWDS) of the Uni- versity of Music and Performing Arts Graz (KUG), expands the pioneering format deve- loped by Ulf Bästlein and Wolfgang Hattinger in 2010, in which the particular moment of artistic research – namely audible results, which come about through a dynamic between art and scholarship that is rooted in methodology – becomes something the audience can understand and experience. In Alfred Brendel, Georg Friedrich Haas and George Lewis, the festival brings three world- famous and influential personalities and thinkers from the world of music to Graz as key- note speakers. George Lewis will combine his lecture with a version of his piece for soloist and interactive grand piano. The presentations at ARTikulationen encompass many different formats such as keynotes, lecture recitals, guest talks, poster presentations and a round table on practices in artistic research. -
Show Me the Thesis Handbook!!!
CONSERVATORIUM VAN AMSTERDAM Masters Research THE COMPUTER M U S I C I A N _ THE LAPTOP AS A PERFORMATIVE INSTRUMENT IN CONTEMPORARY MUSIC Felipe Ignacio Noriega Composition [email protected] • 06-84291066 • www.felipeignacio.info Table of Contents_ 1. Introduction _3 2.The Laptop itself 7 3.Musical Potential 17 4.Alive or not Alive? (on performative live music) 28 5.Case Studies: 38 2.do({ - Artist_1 (\Tara x); - Artist_2 (\H. vega) });_ 6.Magical Reality (personal approach) 49 7.Case Studies: 3.do({ ~ my_pieces[1] = MARIA; 53 ~my_pieces[2] = MEMENTO; ~my_pieces[3] = ROBOT THEATER “nacho camacho_ 8.the future (conclusions and beyond) 75 9.references 82 10._AcknowledgEments 85_ 2 In troduction_ This is a handbook about music and laptops. More specifically about my good old ‘hackintosh’ laptop and how i’ve been discovering a whole new world of creative and performative possibilities through this yet quite unacknowledged instrument. Yes, it is possible to argue that laptops have been around in the mu- sical scene for a long time now, within the vague category of ‘elec- tronics’ or ‘live electronics’.1 However, even though the laptop is po- tentially a very powerful instrument for the musical practice, I am yet to witness within conservatories a department that will special- ize in laptop playing.2 The scope and degree of specialization and exploration of the laptop I have in mind goes beyond what I have noticed in departments specialized in ‘electronics’, since these de- partments seem to teach the students how to master specific pieces of software (Logic, Max/MSP, SuperCollider when you get lucky) or hardware (Midi/Audio interfaces, Controllers, Effect generators) that in the end enhance the student’s main subject, be it an instru- ment, composition, or anything else. -
Koncert Intermedium II Gordon Delap, Antonin De Bemels Ricardo
Studio Muzyki Elektroakustycznej Centrum Badań nad Sztuka Akustyczną jest nowo powstałym Akademia Muzyczna w Krakowie ośrodkiem przy Uniwersytecie Queens w Belfaście. W kwietniu 2004 specjalnie dla tego celu wybudowany gmach został oficjalnie otwarty Polskie Stowarzysznie Muzyki Elektroakustycznej przez K. Stockhausena. Grono międzynarodowych fachowców z dziedziny kompozycji, technologii internetowej, oprogramowania i (PSeME) budowy podzespołów skupia się nad projektami z zakresu synergii Confédération Internationale de Musique Electroacoustique sztuki, nauki i techniki. Sercem i centralna częścią jest Laboratorium (CIME) akustyczne - unikalna przestrzeń do przedsięwzięć z zakresu muzyki i technologii dźwiękowych. Co roku w kwietniu SARC organizuje koncert Intermedium II festiwal Sonorities, który jest jednym z najważniejszych festiwali muzyki współczesnej w Europie. www.sarc.qub.ac.uk Kazimierz Pyzik, ur. 1955, Kraków. Studiował w Akademii Muzycznej w Krakowie grę na kontrabasie, teorię muzyki oraz SARC kompozycję. W Meistersinger Konservatorium w Norymberdze Sonic Arts Research Centre studiował grę na violi da gamba. Dyplom mistrzowski z zakresu gry na tym instrumencie otrzymał w Królewskim Konserwatorium w Belfast - Irlandia Północna Brukseli u Wielanda Kuijkena. Swoją działalność koncertową dzieli na dwie grupy. Na różnych wykonawcy: odmianach viol da gamba wykonuje głównie muzykę baroku i renesansu, występując z recitalami solowymi oraz z zespołami, klawesyn Małgorzata Isphording – między innymi „Fiori musicali” i „Camerata Cracovia”. -
Virtueel Platform Mapping
VIRTUEEL "OUR PUBLIC IS ABSOLUTELY NOT ELITIST. THE PEO- PLE WHO KNOW PLATFORM THE LEAST ABOUT MEDIA ART ARE OFTEN THE MOST MAPPING SURPRISED." LUCAS VAN DER VELDEN 2 5 "IF WE PRE- SENT AN EX- PERIMENT LIKE THIS AT THE FESTIVAL IT GETS SEEN BY THOUSANDS OF PEOPLE. FRENS FRIJNS 3 THE CHANGING ROLE OF MEDIA FESTIVALS IN THE NETHERLANDS IN THE NETHERLANDS A CONVERSATION Hiroaki Umeda WITH FOUR FESTIVAL DIRECTORS 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 50 46 46 PLAYGROUND URBAN FESTIVAL EXPLORERS 56 62 50 46 GLOW - FORUM OF LIGHT IN ART AND ARCHITECTURE 64 63 62 61 60 59 58 57 56 55 54 53 52 51 50 49 VIRTUEEL PLATFORM MAPPING PLAYGROUND FESTIVAL DISTRIBUTION OF MEDIA FESTIVALS IN THE NETHERLANDS www.virtueelplatform.nl/mapping-mediafestivals FOREWORD 1 A radical change is taking place among media festivals in the Netherlands. Many medium-sized towns now have their own media festivals. The striking thing is that these festivals are found across the country and not just in the urban Randstand conglomeration of Amsterdam, Rotterdam and The Hague. Some of the festivals have been going for more than ten years (Impakt in Utrecht, DEAF in Rotterdam) others have developed in the last few years (STRP in Eindhoven, Gogbot in Enschede) and there are new additions (Fiber in Amsterdam, Oddstream in Nijmegen). Besides being a national phenomenon, these media festivals are now assuming roles previously played by museums and galleries, namely, that of curator, agent, and commissioner. Virtueel Platform has compiled this publication to map this growing phenomenon better. -
Edinburgh Research Explorer
Edinburgh Research Explorer Re-Breather Citation for published version: Rawlinson, J, Schroeder, F & Etefaghi, D, Re-Breather: Work for Saxophone, Realtime Signal Processing and Visuals, 2018, Performance. <http://sonorities.org.uk/wp- content/uploads/2018/04/2_Sonorities2018_OnlineBrochure_Small.pdf> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 06. Oct. 2021 1 17 TO 22 APRIL 2 YOU MIGHT NOT LIKE IT Once every 2 years, artists from more than 40 countries across the world gather in Belfast for a week of musical adventure. For over 30 years Sonorities has lead the way for musicians, composers, sound artists to make and present work for curious listeners. From 18-22 April, locations across Belfast including the Come along and most advanced music experience the venue Ireland – The experimental world Sonic Lab – play host of Sonorities. to all things weird and Most events are wonderful. There’ll be absolutely FREE, concerts, club nights, but tickets must be installations, visuals, pre-booked workshops and more. -
International Computer Music Conference (ICMC/SMC)
Conference Program 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Music Technology Meets Philosophy: From digital echos to virtual ethos ICMC | SMC |2014 14-20 September 2014, Athens, Greece ICMC|SMC|2014 14-20 September 2014, Athens, Greece Programme of the ICMC | SMC | 2014 Conference 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Editor: Kostas Moschos PuBlished By: x The National anD KapoDistrian University of Athens Music Department anD Department of Informatics & Telecommunications Panepistimioupolis, Ilissia, GR-15784, Athens, Greece x The Institute for Research on Music & Acoustics http://www.iema.gr/ ADrianou 105, GR-10558, Athens, Greece IEMA ISBN: 978-960-7313-25-6 UOA ISBN: 978-960-466-133-6 Ξ^ĞƉƚĞŵďĞƌϮϬϭϰʹ All copyrights reserved 2 ICMC|SMC|2014 14-20 September 2014, Athens, Greece Contents Contents ..................................................................................................................................................... 3 Sponsors ..................................................................................................................................................... 4 Preface ....................................................................................................................................................... 5 Summer School ....................................................................................................................................... -
The Harp Extended: an Exploration of Resonance, Mimicry and Improvisation
THE HARP EXTENDED: AN EXPLORATION OF RESONANCE, MIMICRY AND IMPROVISATION CLARE M. COOPER WRITTEN COMPONENT SUBMITTED IN PARTIAL FULFILMENT OF THE DEGREE OF MASTER OF FINE ART COLLEGE OF FINE ARTS, UNIVERSITY OF NEW SOUTH WALES, SYDNEY. 2008 CONTENTS INTRODUCTION…..……………………………………………... (Page 3) CHAPTER 1: Influence, Expectation and Evolving Ears……… (Page 4-19) Promises the Harp makes simply by being a Harp Cultural Baggage, Stereotype and Cliché The ‘whole’ Harp and its co-conspirators CHAPTER 2: “This Music” - the problem with defining approaches to extending the vocabulary of an instrument…………..………………………….. (Page 19- 29) “This Music” “Extended Technique” and “Non-traditional” playing “Preparation” Know the rules before you break them Lifting the sanctions CHAPTER 3: Improvisation and Necessitating Sounds………….. (Page 30- 34) CHAPTER 4: Mimicry……………………………………………….. (Page 35-37) Mimicking machines: Field Recordings CHAPTER 5: Exploring Physical Structure and Resonant Spaces (Page 38- 44) Exploring the instrument’s physical structure and resonant spaces Amplification and Electronic Extension Feeding tones CHAPTER 6: A Guide to Submitted Works …………………....… (Page 45-47) CONCLUSION ……………………………………………………...... (Page 48) References / Resources / Bibliography List of Interviews conducted via Email Performances / Collaborations / Residencies 2005-2007 1-2 Introduction This research project explores methods of extension of the pedal Harp vocabulary in an attempt to develop a unique language that challenges the instrument's stereotype and better responds to a range of contexts. I have investigated three key areas of extension: the physical structure of the Harp and its internal resonant spaces, mimicry as an exploratory tool useful in better understanding the Harp in relation to the Australian environment, and improvisation both free and structured used to challenge the vocabulary of the Harp in solo performance and collaborative contexts. -
In Kepler's Gardens
A global journey mapping the ‘new’ world In Kepler’s Gardens AUTONOMY Helsinki Jerusalem Cairo Bangkok Esch Tallinn Nicosia Grenoble Melbourne Linz UNCERTAINTY Paris London ECOLOGY Oslo Moscow Auckland Vilnius Amsterdam Tokyo Johannesburg Munich Bucharest Belgrade San Sebastian Riga DEMOCRACY Dublin Daejeon Utrecht Vienna Los Angeles Ljubljana Buenos Aires Barcelona Montréal Chicago TECHNOLOGY Seoul Prague Hong Kong Athens Bergen Berlin Leiden Milan New York Brussels HUMANITY Taipei Jakarta ARS ELECTRONICA 2020 Festival for Art, Technology & Society In Kepler’s Gardens A global journey mapping the ‘new’ world Edited by Gerfried Stocker / Christine Schöpf / Hannes Leopoldseder Ars Electronica 2020 Festival for Art, Technology, and Society September 9 — 13, 2020 Ars Electronica, Linz Editors: Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker Editing: Veronika Liebl, Anna Grubauer, Maria Koller, Alexander Wöran Translations: German — English: Douglas Deitemyer, Daniel Benedek Copyediting: Laura Freeburn, Mónica Belevan Graphic design and production: Main layout: Cornelia Prokop, Lunart Werbeagentur Cover: Gerhard Kirchschläger Minion Typeface: IBM Plex Sans PEFC Certified This product is from Printed by: Gutenberg-Werbering Gesellschaft m.b.H., Linz sustainably managed forests and controlled sources Paper: MagnoEN Bulk 1,1 Vol., 115 g/m², 300 g/m² www.pefc.org PEFC Certified © 2020 Ars Electronica PEFC Certified PEFC Certified This product is This product is This product is PEFC Certified © 2020 for the reproduced works by the artists, -
Programming Arts Festivals in Asia and Europe
SERVING ARTISTS SERVES THE PUBLIC: PROGRAMMING ARTS FESTIVALS IN ASIA AND EUROPE I Serving Artists Serves the Public: Programming Arts Festivals in Asia and Europe Publisher The Asia-Europe Foundation (ASEF) in collaboration with the European Festivals Association and LASALLE College of the Arts. Coordinator Claire Wilson Editorial Team Claire Wilson, Katelijn Verstraete, Audrey Wong, Verena Tay, Kathrin Deventer, Juliane Reissig, Kalaivani Karunanethy, Valentina Riccardi, Sali Sasaki. Designer FurryFish www.furryfish.com This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http:// creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. The views expressed in this publication are strictly those of the authors and do not necessarily reflect those of the Asia-Europe Foundation (ASEF). For more information, please contact: Asia-Europe Foundation (ASEF) 31 Heng Mui Keng Terrace Singapore 119595 [email protected] www.asef.org This publication is available online at: A programme of the Asia-Europe Foundation (ASEF) www.culture360.org [email protected] II CONTENTS FOREWORD 1 INTRODUCTION 2 Introduction 3 by Audrey Wong ARTISTIC PROGRAMMING AND BEYOND 7 Introduction: Beyond Artistic Programming 8 by Audrey Wong Serving Artists Serves the Public 9 by Robyn Archer Art, a Programme, an Audience 18 by Hugo De Greef MAKING A FESTIVAL: THE CONTEXT 22 Introduction: A Festival -
CAGE1,2,3 Koncert Finałowy Konkursu Kompozytorsko-Wykonawczego „Cage1,2,3” 8 Grudnia 2012 8 Grudnia 2012 (Sobota) Studio Muzyczne Radia Lublin, Ul
L ublin CAGE1,2,3 Koncert finałowy konkursu kompozytorsko-wykonawczego „Cage1,2,3” 8 GrudniA 2012 8 grudnia 2012 (sobota) Studio Muzyczne radia Lublin, ul. Obrońców Pokoju 2, Lublin godz. 18:00 Koncert finalistów Jakub Bigos, Polska | Sławomir Bobola, Polska | Arturas Bumsteinas, Litwa | Anna Maria Huszcza, Polska | Marcin Janus, Polska | Sławomir „Suavas” Lewy, Polska | Jacek Steinbrich, Polska | Tomasz Wódkiewicz, Polska | Henry Vega, Holandia | Ayane Yamanaka, Japonia | Marcelo Zammenhoff, Polska | godz. 20:00 Ogłoszenie wyników konkursu Jury konkursu „CAGE1,2,3”: Marek Chołoniewski | Jacek Hawryluk | Jerzy Kutnik | Marcin Masecki | Michał Mendyk | Współpraca: Michał Mendyk | Tomasz Stankiewicz | rok Johna Cage’a – Lublin 2012 www.johncageyear.pl WstęP wolnY Szanowni Państwo, Z przyjemnością zapraszamy na koncert finali- stów konkursu CAGE1,2,3, którego przedmiotem jest stworzenie i wykonanie utworu inspirowanego twórczością Johna Cage’a. Z 67 nadesłanych na konkurs prac, wyłonionych zostało 11 finalistów. Z niecierpliwością czekamy na wykonania tych utworów, ponieważ jesteśmy ciekawi, czy twórczość Cage’a i formułowane przez niego idee wciąż inspi- rują i prowokują do nowych poszukiwań. Przekonamy się o tym po koncercie, kiedy Jury ogłosi zwycięzców. W imieniu pomysłodawców i organizatorów Jan Bernad Dyrektor Artystyczno-Programowy Ośrodka Rozdroża It is our pleasure to invite you to a concert organized as the final stage of the CAGE1,2,3 competition. Its purpose has been to challenge musicians to compose and present a piece inspired by one selected work of John Cage. Out of the 67 submissions the competition jury nominated 11 finalists. Anxious to hear them perform their works live, we expect the concert to confirm our belief that the ideas of Cage can inspire and provoke today’s composers and musicians like they did for a good part of the previous century.