In Kepler's Gardens
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The Psytrance Party
THE PSYTRANCE PARTY C. DE LEDESMA M.Phil. 2011 THE PSYTRANCE PARTY CHARLES DE LEDESMA A thesis submitted in partial fulfilment of the requirements of the School of Humanities and Social Sciences, University of East London for the degree of Master of Philosophy August 2011 Abstract In my study, I explore a specific kind of Electronic Dance Music (EDM) event - the psytrance party to highlight the importance of social connectivity and the generation of a modern form of communitas (Turner, 1969, 1982). Since the early 90s psytrance, and a related earlier style, Goa trance, have been understood as hedonist music cultures where participants seek to get into a trance-like state through all night dancing and psychedelic drugs consumption. Authors (Cole and Hannan, 1997; D’Andrea, 2007; Partridge, 2004; St John 2010a and 2010b; Saldanha, 2007) conflate this electronic dance music with spirituality and indigene rituals. In addition, they locate psytrance in a neo-psychedelic countercultural continuum with roots stretching back to the 1960s. Others locate the trance party events, driven by fast, hypnotic, beat-driven, largely instrumental music, as post sub cultural and neo-tribal, representing symbolic resistance to capitalism and neo liberalism. My study is in partial agreement with these readings when applied to genre history, but questions their validity for contemporary practice. The data I collected at and around the 2008 Offworld festival demonstrates that participants found the psytrance experience enjoyable and enriching, despite an apparent lack of overt euphoria, spectacular transgression, or sustained hedonism. I suggest that my work adds to an existing body of literature on psytrance in its exploration of a dance music event as a liminal space, redolent with communitas, but one too which foregrounds mundane features, such as socialising and pleasure. -
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. -
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. -
Edwin Van Der Heide
Eerste Pijnackerstraat 91A, NL-3035GN Rotterdam, The Netherlands, tel: +31-6-46285002, fax: +31-84-8368342, http://www.evdh.net/ Edwin van der Heide Edwin van der Heide is an artist, composer and researcher in the field of sound, space and interaction. He extends musical composition and musical language into spatial, interactive and interdisciplinary directions. His work comprises installations, performances and environments. The audience is placed in the middle of the work and challenged to actively explore, interact and relate themselves to the artwork. He has presented his work at renown museums, festivals, galleries and music venues as SMAK - Ghent, Ars Electronica Festival - Linz, Stedelijk Museum - Amsterdam, V2_'s DEAF - Rotterdam, ICC - Tokyo, NAMOC - Beijing, Transmediale - Berlin, SONAR - Barcelona, Taipei Fine Arts Museum, SFMOMA, FILE - Brazil, SONAMBIENTE - Berlin, Art Basel Parcours Night and Donaueschinger Musiktage. Besides running his own studio he is part-time lecturer and researcher at Leiden University (LIACS / Media Technology MSc programme) and was a lecturer (1995- 2016) at, and co-head (2014-2016) of, the ArtScience Interfaculty of the Royal Conservatoire and Royal Academy of Art in The Hague. He was Edgard Varèse guest professor at the Technische Universität Berlin (2009), won the Witteveen+Bos Art+Technology Award 2009 for his entire body of work. He was an invited artist and guest professor at Le Fresnoy, studio des arts contemporain in France for the year 2011-2012. Edwin van der Heide Date and place of birth: -
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 -
Creative Europe Culture Music Projects
Creative Europe Culture Music Projects July 2020 Creative Europe NETWORKS - MUSIC More information on the European Union is available on the Internet (http://europa.eu). Luxembourg : Publications Office of the European Union, 2020 PRINT ISBN : 978-92-9484-121-6 doi : 10.2797/97142 EC-02-19-821-EN-C PDF ISBN : 978-92-9484-120-9 doi : 10.2797/746060 EC-02-19-821-EN-N © Education, Audiovisual and Culture Executive Agency, 2020 The Commission’s reuse policy is implemented by Commission Decision 2011/833/EU of 12 December 2011 on the reuse of Commission documents (OJ L 330, 14.12.2011, p. 39 – https://eur-lex.europa.eu/eli/ dec/2011/833/oj). Unless otherwise noted, the reuse of this document is authorised under the Creative Commons Attribution 4.0 International (CC BY 4.0) licence (https://creativecommons.org/licenses/by/4.0/). This means that reuse is allowed, provided appropriate credit is given and any changes are indicated. For any use or reproduction of elements that are not owned by the EU, permission may need to be sought directly from the respective rightholders. The EU does not own the copyright in relation to any images which do not carry the copyright indicator © European Union. CREDITS Cover photo : © Louise Mather. Creative Europe Culture Music Projects July 2020 TABLE OF CONTENTS TABLE OF CONTENTS FOREWORD 8 - 9 CREATIVE EUROPE PROGRAMME AND INFOGRAPHICS 10 - 11 MUSIC 12 - 77 CLASSICAL MUSIC 12 - 22 EEE - Emerging European Ensembles 12 ARDEA - International Classical Music Masterclasses ARDEA 13 Music Up Close Network - connecting -
RAGNAR KJARTANSSON Born 1976, Reykjavík, Iceland Lives and Works in Reykjavík, Iceland
RAGNAR KJARTANSSON Born 1976, Reykjavík, Iceland Lives and works in Reykjavík, Iceland EDUCATION 2000, Royal Academy, Stockholm, Sweden 1997–2001, Icelandic Academy of the Arts, Reykjavík, Iceland AWARDS 2019, ARS FENNICA Award, Henna and Pertti Niemistö Art Foundation, Helsinki, Finland 2017, Performance of the Year, Grima Awards, Reykjavik, Iceland 2017, Order of the Falcon, Reykjavik, Iceland 2016, Reykjavik City Artist, Reykjavik, Iceland 2015, Derek Williams Trust Purchase Award, Artes Mundi, Cardiff, Wales 2015, Richard Serra Award, National Gallery of Iceland, Reykjavik, Iceland 2015, Sergey Kuryokhin Contemporary Art Award, St. Petersburg, Russia 2011, Malcolm McLaren Award at Performa 11, New York, NY, USA 2008, Nominated for the Icelandic Art Awards, Sjónlist, Akureyri Art Museum, Iceland 2006, Listeners Choice Awards, FM957 SOLO EXHIBITIONS 2021-2022 To Moscow! To Moscow! To Moscow!, V-A-C Foundation, Moscow, Russia 2021 Ragnar Kjartansson: Death Is Elsewhere, Musée des beaux-arts de Montréal, Montréal, Canada Ragnar Kjartansson: Death Is Elsewhere, National Gallery of Iceland, Reykjavik, Iceland Ragnar Kjartansson: The Visitors, High Museum of Art, Atlanta, GA 2020-2021 Ragnar Kjartansson: Death Is Elsewhere, Art Gallery of Ontario, Toronto, Canada Ragnar Kjartansson: The Visitors, Institute of Contemporary Art / Boston, Boston, MA 2020 Ragnar Kjartansson: The Sky in the Room, Church of San Carlo al Lazzaretto, Milan, Italy 2019-2020 Focus On: Ragnar Kjartansson, Dallas Museum of Art, Dallas, TX Ragnar Kjartansson: Scenes -
HC Gilje Selected Works 2000-2016
HC Gilje selected works 2000-2016 video:https://vimeo.com/182521274 beacon (2016) Three light projectors each create a beam of light that slowly scans the exhibition space. The light projectors are made of a glass cylinder filled with water and a light that rotates around it. The water works as a lens for the light, and the combination of the glass and water gives the projected light a particular structure that changes subtly as the light moves around the glass. Each light projector is like an inverted light house, the light beams illuminating the walls and the floor and casting shadows of the audience and the other light projectors onto the walls. The installation was created for Gilje´s solo show at Kristiansand Kunsthall in 2016. video:https://vimeo.com/182521275 speiling (2016) Speiling was created for the exhibition Mitt Landskap (My landscape) in Bodø 2016 where a younger generation of artists created works inspired by painter and sculptor Gunnar Tollefsen. In his contribution Gilje created a light projection in a custom built space. Gilje was mainly concerned with the horizon: between ocean and the sky, the floor and the wall. Two organic forms, one black and one white, move and transform on a red background. Projected Light bounces off the floor onto the wall, and light projected on the wall is mirrored on the shiny floor. Thus new forms are created in the meeting between the floor and the wall in the line of the horizon. video:https://vimeo.com/176912614 mikro (2016) Mikro is a series of improvised collaborative performances between HC Gilje (video) and Justin Bennett (sound) that draws its raw material from the immediate surroundings. -
Sun, Sea and Buckets of Alcohol Exploring Debauchery at Koh Pha-Ngan’S Full Moon Party Using an Interaction Ritual Perspective
Sun, sea and buckets of alcohol Exploring debauchery at Koh Pha-ngan’s full moon party using an interaction ritual perspective Bachelor thesis, Wageningen University Tom van Campenhout (920809154010) 25-6-2015 Sun, sea and buckets of alcohol AUTHOR STATEMENT Thesis title: Sun, sea and buckets of alcohol Subtitle: Exploring debauchery at Koh Pha-ngan’s full moon party using an interaction ritual perspective Author name: Tom van Campenhout Bachelor degree program: Bachelor of Science Tourism Educational Institute: NHTV Breda University of Applied Science and Wageningen University Authorship statement I hereby declare that this thesis is wholly the work of Tom van Campenhout. Any other contributors have either been referenced in the prescribed manner or are listed in the acknowledgements together with the nature and the scope of their contribution. Where I have consulted the published work of others this is always clearly attributed. Where I have quoted from the work of others the source is always given. A list of the references used, is included. An appropriate referencing style is used throughout. With the exception of such quotations this thesis is entirely my own work. I have read and understand the penalties associated with plagiarism as stated in the Student Charter. Declaration of Partial Copyright I hereby grant to NHTV Breda University of Applied Science ("NHTV") and Wageningen University ("WU") the non-exclusive, royalty-free right to include a digital copy of my thesis and associated supplemental files (“Work”) in the Library Catalogue at NHTV. NHTV and WU may use, reproduce, display, convert, sublicense and distribute the Work for purposes of a scholarly or research nature, in any format and any medium, without prior permission or charge, provided that the Work is not altered in any way and is properly acknowledged, including citing the author, title and full bibliographic details. -
Todaysart 2019 International Festival for Art, Music and Technology, the Hague - the Netherlands 19 - 22 September 2019
TodaysArt 2019 International festival for art, music and technology, The Hague - The Netherlands 19 - 22 September 2019 TodaysArt reveals spectacular Context Program for 2019 festival edition, with widely celebrated keynote speakers, philosophers and a debate on the future of Europe. The anniversary edition of TodaysArt is less than 8 weeks away, and this means the time has come to announce the first names of this year’s in-depth Context Program. With keynote speeches by Douglas Rushkoff and Koert van Mensvoort, an inspiring talk between philoso- pher Srećko Horvat and Sea-Watch captain Pia Klemp alongside a dialogue between thinkers Daan Roovers and Maxim Februari, the enriching discourse program of the 15th festival edi- tion will explore the theme of ‘CONSCIOUSNESS.’ Speakers: Douglas Rushkoff - Koert van Mensvoort - Srećko Horvat - Pia Klemp - Daan Roovers - Maxim Februari Artist talks: Refik Anadol - Pablo Valbuena - Ralf Baecker - Evelina Domnitch + Dmitry Gelfand What is going to be humanity’s role and relevance in our digital future, and what role will philosophy, ethics, and creativity play? What is our relationship with artificial intelligence? Do we choose nature over techno- logy? And how fine is the line between them, if there is a line at all? These are some of the questions the international festival for art, music and technology TodaysArt aims to answer this September in The Hague, together with its artists, audience and speakers. With this year’s festival theme, ‘CONSCIOUSNESS’, TodaysArt leaves the dystopian scenarios on conflict, ‘black boxes’ and artificial intelligence from previous years behind. Instead, the festival focuses on the pos- sibilities of digital technology, on topics like artificial emotions, digital consciousness, machine hallucinations and meditations, and especially humanity in the digital age. -
Quantum Music Conference Programme.Pages
Међународна International интердисциплинарна Interdisciplinary конференција Conference КВАНТНА МУЗИКА QUANTUM MUSIC (И ИЗВАН ЊЕ) (AND BEYOND) МУЗИКА И НОВЕ ТЕХНОЛОГИЈЕ MUSIC AND NEW TECHNOLOGIES У 21. ВЕКУ IN THE 21st CENTURY Ministry of Culture and Information of the Republic of Serbia Ministry of Education, Science and Technological Development of the Republic of Serbia Међународна интердисциплинарна конференција КВАНТНА МУЗИКА (И ИЗВАН ЊЕ) МУЗИКА И НОВЕ ТЕХНОЛОГИЈЕ У 21. ВЕКУ Организатори: Музиколошки институт САНУ, Београд Центар за промоцију науке, Београд 21–22. март 2018. Српска академија наука и уметности, Београд International Interdisciplinary Conference QUANTUM MUSIC (AND BEYOND) MUSIC AND NEW TECHNOLOGIES IN THE 21st CENTURY Organisers: Institute of Musicology SASA, Belgrade Center for the Promotion of Science, Belgrade 21–22 March 2018 Serbian Academy of Sciences and Arts, Belgrade QUANTUM MUSIC Програмски одбор Председница Програмског одбора ИВАНА МЕДИЋ (Музиколошки институт САНУ, Београд) АЛЕКСАНДАР БРКИЋ (Институт за креативно и културно предузетништво, Голдсмитс, Универзитет у Лондону, Уједињено Краљевство) ВЛАТКО ВЕДРАЛ (Универзитет у Оксфорду, Уједињено Краљевство) ДРАГАН НОВКОВИЋ (Висока школа електротехнике и рачунарства струковних студија, Београд) ЕНДРУ ГАРНЕР (Центар за квантне технологије, Национални универзитет у Сингапуру) КАТАРИНА ТОМАШЕВИЋ (Музиколошки институт САНУ, Београд) КИМ ХЕЛВЕГ (Данска национална школа за извођачке уметности) КЈАРА МАРЛЕТО (Универзитет у Оксфорду, Уједињено Краљевство) КЛАУС МОЛМЕР -
From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2010 From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs. Ambrose Colombo Claremont McKenna College Recommended Citation Colombo, Ambrose, "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." (2010). CMC Senior Theses. Paper 83. http://scholarship.claremont.edu/cmc_theses/83 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Table of Contents I. Introduction 1 II. Disco: New York, Philadelphia, Chicago, and Detroit in the 1970s 3 III. Sound and Technology 13 IV. Chicago House 17 V. Drugs and the UK Acid House Scene 24 VI. Acid house parties: the precursor to raves 32 VII. New genres and exportation to the US 44 VIII. Middle America and Large Festivals 52 IX. Conclusion 57 I. Introduction There are many beginnings to the history of Electronic Dance Music (EDM). It would be a mistake to exclude the impact that disco had upon house, techno, acid house, and dance music in general. While disco evolved mostly in the dance capital of America (New York), it proposed the idea that danceable songs could be mixed smoothly together, allowing for long term dancing to previously recorded music. Prior to the disco era, nightlife dancing was restricted to bands or jukeboxes, which limited variety and options of songs and genres. The selections of the DJs mattered more than their technical excellence at mixing.