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Autechre Confield Mp3, Flac, Wma
Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code -
Autechre Envane Mp3, Flac, Wma
Autechre Envane mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Envane Country: UK Released: 1997 Style: Abstract, IDM MP3 version RAR size: 1213 mb FLAC version RAR size: 1665 mb WMA version RAR size: 1291 mb Rating: 4.2 Votes: 410 Other Formats: MMF XM ADX AHX APE MP1 FLAC Tracklist 1 Goz Quarter 9:43 2 Latent Quarter 7:37 3 Laughing Quarter 7:05 4 Draun Quarter 10:50 Companies, etc. Published By – Warp Music Published By – EMI Music Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Credits Design – The Designers Republic Producer – Ae* Written-By – Brown*, Booth* Notes Warp Music EMI Music. (P) 1997 Warp Records Ltd (C) 1997 Warp Records Ltd. Made In England. Released in a standard jewel case with clear tray and 4-page booklet. "Goz Quarter" samples a lyric from Dr. Octagon's "No Awareness". Barcode and Other Identifiers Barcode (Printed): 5021603089020 Matrix / Runout (Variant 1): 83191 WAP89CD Matrix / Runout (Variant 2): 95637 WAP89CD 1:1:1 Matrix / Runout (Variant 3): 83191 WAP89CD 1:1:3: Matrix / Runout (Variant 4): WAP89CD Matrix / Runout (Variant 5): 83191 WAP89CD 1:1:4 Matrix / Runout (Variant 6): 83191 WAP89CD I:1:8 Mastering SID Code (Variant 1, 3, 5, 6): IFPI L042 Mastering SID Code (Variant 2): IFPI L041 Mastering SID Code (Variant 4): IFPI LR61 Mould SID Code (Variant 1, 5): none Mould SID Code (Variant 2): IFPI 7306 Mould SID Code (Variant 3): IFPI 7305 Mould SID Code (Variant 4): IFPI RZ08 Mould SID Code (Variant 6): IFPI 7303 Other versions Category Artist Title (Format) Label Category Country Year WAP 89 CDP Autechre Envane (CD, EP, Promo) Warp Records WAP 89 CDP UK 1997 WAP 89 Autechre Envane (12") Warp Records WAP 89 UK 1997 WAP89 Autechre Envane (12", W/Lbl, Sti) Warp Records WAP89 UK 1997 WAP 89X Autechre Envane (12") Warp Records WAP 89X UK 1997 WAP 89CD Autechre Envane (CD, EP, RP) Warp Records WAP 89CD UK Unknown Comments about Envane - Autechre Quendant One of my faves in the Autechre catalog. -
Grafický Dizajn a Kolaborácia Diplom Ant: Katarína Balážiková Vysoká Škola Výtvarných Umení V Bratislave Vedúci Dipl
Vysoká škola výtvarných umení v Bratislave Katedra teórie a dejín umenia grafický dizajn a kolaborácia Diplomant: Katarína Balážiková Vedúci diplomovej práce: Doc. PhDr. Z. Kolesár, PhD. Bratislava, akademický rok 2005/06 Vysoká škola výtvarných umení v Bratislave Katedra teórie a dejín umenia grafický dizajn a kolaborácia Diplomant: Katarína Balážiková Vedúci diplomovej práce: Doc. PhDr. Z. Kolesár, PhD. „Jeden je biely, druhý je čierny. Cesta jedného nikdy neskríži cestu druhého. Jeden vie, čo robí druhý. Každý z nich hovorí inou rečou, ale dobre si rozumejú. Jeden rešpektuje druhého. Jeden je dobro, druhý je zlo. Jeden je druhý, ale nikdy nie v rovnakom čase.“ <Dimitri Bruni, Manuel Krebs - NORM> Poďakovanie: Doc.L. Čarnému, Julovi Nagyovi, Palovi Bálikovi, Kristianovi Lukičovi, Branke Čurčič a Olge Hošekovej Some rights reserved. Text je publikovný licenciou Creative Commons, ak nie je uvedené inak. Licencia : Attribution-NonCommercial-Share Alike 2.5 , http://creativecommons.org/licences/by-nc-sa/2.5/ Bratislava, akademický rok 2005/2006 1. Úvod / 4-5 2. Kolaborácia v súvislostiach / 6-19 2.1. Kolaborácia v histórii výtvarného umenia 2.2. Kolaborácia ako sociologický fenomén 2.3. Kolaborácia ako kolektívna inteligencia 2.4. Kolaborácia a individualita 2.5. Kolaborácia a autor 2.6. Kolaborácia a veda 2.7. Kolaborácia ako hra 2.8. Kolaborácia a otvorenosť 2.9. Kolaborácia a jej odvrátená strana 3. Kolaborácia v pojmoch / 20-27 3.1. Forma 3.2. Hierarchia 3.3. Médium 3.4. Model 4. Dejiny kolaborácie v grafickom dizajne / 28-37 5. Kolaborácia a nové médiá / 38-41 6. Záver / 42-43 7. Bibliografia / 44-45 4 =1+1 1.Úvod nosť a exotickosť spojenia tohto pojmu s profesiou grafického dizajnéra aj napriek stále sa rozširujúcej tendencii kapitalizmom núteného dizajnéra-jednica zoskupovať sa pod tlakom konkurencie. -
STS 145 Game Review: Wipeout
STS 145 Game Review: Wipeout Game Review: Wipeout Yu Ping Hu <[email protected]> 22 February 2001 The Sport of the Future In 2052, anti-gravity racing is all the rage. The F3600 Race League boasts the best anti-grav race craft, the finest pilots, and the fastest action. This is the world Psygnosis created for Wipeout, one of the first games available for the Playstation after the console's 1995 launch. In the first half of the twenty-first century, scientists were developing anti-grav technology. However, due to corporate greed and political maneuvering, government support of this research disappeared, and the researchers ridiculed. Despite this, anti-grav was a total success, solving the world's fuel and transportation problems, and giving rise to what would become the most popular sport of all time. To be honest, the story line for Wipeout is thin, supplied in two pages of "quotes" in the game manual. However, it doesn't matter: it's simply a pretext for high speed racing. Once you start the game, all that matters is flying faster than the other 7 racers, and finishing the three-lap race in first place. This is no mean feat: every race, you start in last place, and need to speed your way to the front of the pack. They apparently don't believe in pole position in 2052. Full credits and publication information are also available. Gameplay Basics The game offers three modes: single race, time trial, and championship race. Single race allows you to play against computer controlled opponents on any of the tracks, while time trial allows you to fly solo against the clock. -
UNIVERSAL MUSIC • Imagine Dragons – Smoke + Mirrors (Fan Pack) • Emile Haynie – We Fall • Misterwives – Our Own Ho
• Imagine Dragons – Smoke + Mirrors (Fan Pack) • Emile Haynie – We Fall • MisterWives – Our Own House New Releases From Classics And Jazz Inside!!! And more… UNI15-07 UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 *Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: SHANIA TWAIN // STILL THE ONE: Live From Vegas (BLU-RAY) Cat. #: EVB335029 Price Code: BC Order Due: February 5, 2015 Release Date: March 3, 2015 File: Pop Genre Code: 33 Box Lot: 25 8 01213 35029 2 Artist/Title: SHANIA TWAIN // STILL THE ONE: Live From Vegas (DVD) Cat. #: EV307009 Price Code: KK 8 01213 07009 1 Synopsis The original queen of crossover country-pop and the world’s best-selling female country artist of all time, Shania Twain, stars in her spectacular show “Shania: Still The One”. This ground-breaking residency show was filmed live at The Colosseum at Caesars Palace, Las Vegas where it began its run on December 1st, 2012. “Shania: Still The One” was created by Shania Twain and directed by Raj Kapoor. It takes the audience on a powerful journey through Shania’s biggest hits, country favourites and beloved crossover songs. Glamorous costumes, a 13-piece live band, backing singers and dancers are combined with stunning visuals and live horses to create the ultimate Las Vegas entertainment and to prove that Shania Twain is undoubtedly Still The One! Bonus Features Backstage Pass – an hour long documentary telling the story of the creation and staging of this amazing live show. Key Selling Points • Filmed in high definition and simultaneously released on Blu-ray. -
Ian Anderson Jonathan Barnbrook Jorge Silva Pedro Falcão Sagmeister & Walsh Curator Guta Moura Guedes
Primeira Pedra First Stone Ian Anderson Jonathan Barnbrook Jorge Silva Pedro Falcão Sagmeister & Walsh Curator Guta Moura Guedes La Triennale di Milano Viale Alemagna 6, 20121 Milano, Italy www.primeirapedra.com 30 March—2 April · 10:30—20:30 4 April · 10:30—00:00 5—9 April · 10:30—22:00 IN PARTNERSHIP COFINANCED BY WITH THE COLLABORATION OF WITH THE HIGH PATRONAGE OF HIS EXCELLENCY THE PRESIDENT OF THE PORTUGUESE REPUBLIC, MARCELO REBELO DE SOUSA The briefing called for a strong emphasis on creativity and innovation, Still Motion Milan to create singular ways of working with stone through graphic design. Primeira Pedra / This field of design has rarely been used in contemporary approaches This exhibition presents a series of original pieces designed by five to stone, having been intensely applied in the past, in structures Credits international graphic design studios, produced using Portuguese stone. such as great monuments and urban, public and private spaces, First Stone Assimagra Still Motion incorporates work by the English designers Ian Anderson both western and oriental. Project Coordination Miguel Goulão, Célia Marques, and Jonathan Barnbrook, the New-York based studio headed by First Stone is an international experimental research programme Daniel Rebelo Austrian designer Stefan Sagmeister and the American Jessica Walsh, Faced with this challenge, the New York based duo Sagmeister & Walsh, exploring the potential of Portuguese Stone, focussing on its uses, Valorpedra and the Portuguese designers Pedro Falcão and Jorge Silva, who have produced communication projects with limitless creativity material properties and distinctive characteristics. The programme Tânia Peças, Nelson Cristo (Technical Consultant) both with studios in Lisbon. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
A Snapshot of the Creative Digital Scene in Sheffield
A Snapshot of the Creative Digital Scene in Sheffield 1 Foreword Contents: This report has been commissioned jointly by the University of Sheffield and Creative Sheffield to sit alongside the three vibrancy reports relating to Sheffield’s creative industries published in 2016 and supported by Arts Council England. These reports on Music, Beer and Art provided a snapshot and linked creativity, economic Introduction: Creative City, Digital City 2 vibrancy and cross cultural collaborations in the three differing sectors, providing areas of growth and development to prioritise over the next five years. It became Our Approach 3 apparent that the creative digital sector was also a prominent and emergent market where the crossover between sectors was providing fascinating and Sheffield’s Creative Digital Sector 4 interesting parallels. Sheffield’s Creative Sector 4 Sheffield’s Digital Sector 5 This snapshot of the creative digital scene in Sheffield is equally timely as it Sheffield: Creative City, Digital City 5 sits alongside parallel but overlapping information presented regionally by Tech City UK in the Tech Nation 2017 report and the forthcoming Sheffield Sheffield: In their words 6 City Region Digital Action Plan. However, the focus and indeed the findings contained here demonstrate once again that it is the cultural ecology of the Sheffield: a Magnet City 9 city of makers that determines collaboration and creativity; but like all sectors, Attracting young wealth creators 10 requires examination, evidence of growth and strategic questions -
A Brief History of Album Covers Pdf, Epub, Ebook
A BRIEF HISTORY OF ALBUM COVERS PDF, EPUB, EBOOK Jason Draper,Paul Du Noyer | 384 pages | 01 Aug 2008 | Flame Tree Publishing | 9781847862112 | English | London, United Kingdom A Brief History of Album Covers PDF Book What Can Appear on an Album Artwork? However, whatever form it takes, the majority of the record covers usually consist of the following elements: Album Information The easiest way to instantly get recognizable is to include the stage name pseudonym and album title in the cover design. Already the design of the Nirvana cover for Nevermind caused heated discussions. Naturally, it had a motorcycle erupting out of a graveyard with a giant bat looming over the tombstones in the background. These covers tweaked the formula a bit by printing a ton of broken up text on a flat blue and grey respectively. The rise of merchandising — and the special logos groups adopted — helped turn bands into brands. Many of the best-known Impulse! For listeners, music would never be the same without the album art. The King Cole Trio spent most of the rest of the year on the bestseller list, with many of its singles reaching No. But digitally, this is not needed. And, in such creative concept, album covers are one of the first things that an artist must take into consideration. I did have a bit of input, picking one or two that stood out for me and which I thought should have been included but, in the main, the list was theirs. The concept of album covers design has quite a long history, which dates back to around the s. -
Autechre Basscad,EP Mp3, Flac, Wma
Autechre Basscad,EP mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Basscad,EP Country: UK Released: 1994 Style: IDM, Experimental, Ambient MP3 version RAR size: 1702 mb FLAC version RAR size: 1765 mb WMA version RAR size: 1762 mb Rating: 4.5 Votes: 985 Other Formats: XM AAC AUD MP3 MOD DMF AHX Tracklist Hide Credits 1 Basscadet (Bcdtmx) 6:49 Basscadet (Beaumonthannanttwomx) 2 8:14 Remix – Beaumont Hannant Basscadet (Seefeelmx) 3 6:51 Producer [Reproduced By] – Mark CliffordRemix – Seefeel 4 Basscadet (Tazmx) 6:54 5 Basscadet (Basscadubmx) 9:37 Companies, etc. Phonographic Copyright (p) – Warp Records Copyright (c) – Warp Records Made By – PDO, UK – 10274611 Credits Design – The Designers Republic Keraion Prograam 2049* Written-By, Producer, Engineer – Rob Brown , Sean Booth Notes ℗ 1994 Warp Records. © 1994 Warp Records. Autechre Music Systems from Gescom Transcendental. Made in England. Category appears as WAP 44CD on spine. Category appears as WAP.44CD in text (layout) on back and disc. Barcode and Other Identifiers Barcode (Printed): 5 021603 044029 Matrix / Runout: WAP44CD 10274611 01 & MADE IN U.K. BY PDO Mastering SID Code: none Mould SID Code: none Other versions Category Artist Title (Format) Label Category Country Year Wax Trax! TVT 8717-2 Autechre Basscad,EP (CD, EP) Records, TVT TVT 8717-2 US 1994 Records Basscadetmxs (2 Of 3) 10.WAP.44DP Autechre Warp Records 10.WAP.44DP UK 1994 (10") Basscadet EP (5xFile, WAP44CDD Autechre Warp Records WAP44CDD UK Unknown WAV, EP, RE) Basscadet EP (5xFile, WAP44CDD Autechre Warp Records WAP44CDD UK Unknown FLAC, EP, RE) WAP 44CD Autechre Basscad,EP (CD, EP, RE) Warp Records WAP 44CD UK 1994 Comments about Basscad,EP - Autechre furious ox Interesting but none sound as good as the original on Incunabula betelgeuze BCDTMX was the first track by AE that I ever heard....I saw the video for it on an electronic music show here in Canada back in 1997. -
MUV Will Be Open Source Visual Software, Based in Processing 3, for Digital Music Performance Artists
thesis spring 2018 v11 MUV will be open source visual software, based in Processing 3, for digital music performance artists. Using a clean, simple, and minimal interface, artists will be able to create visuals for screens or projectors that will accompany their live performance without requiring a secondary computer. By creating software that does not require a team of trained visual designers to operate, MUV will allow more musicians to experience and appreciate the world of live visual art. The software will read and understand standardized digital instrument protocols, so that live performers already familiar with today’s music software can seamlessly use MUV. In addition to software, MUV’s collateral will include a print and pdf software manual, infographic poster, and a handout which describes the work and links to the website. A responsive website with free Mac and Windows software download will also be available as well as social media pages for Facebook, Twitter, Instagram, and Vimeo. DJ Victor Calderone, Laidback Luke Bar visuals by Jobe MUV: photo by Stefano performing with Williams - 1 Music Unto Visual 1 Giovanni 2 visuals by Cas Dekker 3 hyperreelist Overview As open source software coded in Processing,* collaterals for MUV will use a retro-futuristic, pro-digital Music Unto Visual (MUV) creates a live visual performance age aesthetic in order for young musicians to gain strong experience for music tech enthusiasts at any level of attachment to its software and mission. A pro-mechanical, expertise. It is especially designed to enable live musicians strictly-digital and future-driven visual language will appeal to compliment the sound they create with interactive to many young digital music creators and performers. -
WINDOWLICKER. Der Ästhetische Paradigmenwechsel Im Musikvideo Durch Electronic Dance Music
WINDOWLICKER. Der ästhetische Paradigmenwechsel im Musikvideo durch Electronic Dance Music Dissertation zur Erlangung des akademischen Grades doctor philosophiae (Dr. phil.) Eingereicht an der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät der Humboldt- Universität zu Berlin (im Fachbereich Musik- und Medienwissenschaft) von M.A. Sabine Röthig Präsident der Humboldt-Universität zu Berlin Prof. Dr. Jan-Hendrik Olbertz Dekanin der Philosophischen Fakultät III Prof. Dr. Julia von Blumenthal 1. Gutachter: Prof. Dr. Peter Wicke, Humboldt-Universität zu Berlin 2. Gutachter: Prof. Dr. Holger Schulze, University of Copenhagen Tag der mündlichen Prüfung: 30.11.2015 Abstract Deutsch In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation