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Brazilian Magazine About the Electroacoustic Culture

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Brazilian Magazine About the Electroacoustic Culture Y, 2015 Y, MA V, V, I - BRAZILIAN MAGAZINE ABOUT THE ELECTROACOUSTIC CULTURE iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii This linda-iv we’re presenting now is comprised And if in linda-i we stopped by Sweden in iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii of articles and visual works published in the a conversation with Eva Sidén and Jens iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii FOREWORD iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii Hedman and in linda-ii we got a taste of the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii experimental music scene in Russia, we close iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ourfirst magazinefour online and issues a reassurance of this year. of our It isintents both this linda-iv with an exclusive interview Julia iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii a reflex of the already mentioned changes in Teles did with composer Annette Vande Gorne, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii audiences of other parts of the world to have iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii accessfor these to whatpdf-anthologies: we write through first, allowing this version other in present) of electroacoustic music in Belgium. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii English; second, allowing us to have a panorama Shea fundamental tells us a little figure about in the the history development (and in the of iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii of the different discussions that took place in her work, her visions on music education, the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii our magazine during this period of time, also composer’s place in society and her trips to iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii helped here by new points of contact that Brazil. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii emerge between texts and between images. Hoping that you feel free to share your iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii impressions and commentaries with us, we iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii wish you a pleasant reading! iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Beginning its second year of existence in One subject in particular dominates the first iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii it is like to compose an experimental song come iiiiiiiiiiii ►2015, linda started to come out monthly. With iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii forthhalf of in this the issue: various reflexions texts that on what form is our and smallwhat ⏏ this new periodicity and a new design, we also iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii dossier about that matter, bringing together iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii began inviting artists to illustrate each issue, works as Kurt Schwitters’ Ursonate and the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and we’re glad that we can already see the most recent album of Brazilian group Racionais iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii results of these changes: it seems the articles MC’s, Cores & Valores, dealing also with Rita Lee iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii now have time to develop their own lives, and popular mashups of political speeches. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii being shared and commented more often by iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii our readers (and also by us!). Also, looking By the way, YouTube Poop also shows up in this iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii issue, followed by panelaços, Natália Keri’s new iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii visual artists - Élcio Miazaki, Pedro Moreira, series of texts, Daniel Puig’s conversations with iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Sananndaat the fantastic Acácia works and madeHenrique by our Chiurciu first guest - it Brazilian composers, Heidegger, technology, the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii seems weird to think that our magazine could iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii exist for so long without allowing itself to be relation between the size of men and the size of iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii permeated by such images. thedigital beach. audio file as a medium and the delightful iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii LUIS FELIPE LABAKI iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii 2 3 iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii INDEX iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii (8-11) And what about the experimental song? (66-71) The awareness of noise ► ► Julia Teles Bruno Fabbrini (14-18) 2 texts about songs (74-79) ► ► Lucas Rodrigues Natália Keri Butterflies in the stomach (20-30) Experimental song and-or sound poetry (82-86) The bather’s tragedy ► ► Flora Holderbaum Francisco de Oliveira e Max Packer (32-35) To experiment in song (88-92) Heidegger, art and technology ► ► Caio Kenji Roberto Votta (38-41) The role of the singer in experimental songwriting (94-97) Music canvas ► ► Alessa Sérgio Abdalla (44-58) Cores & valores (100-106) Too many poops ► ► Tiago de Mello Luis Felipe Labaki (60-64) Love and hate in the times of protests (108-115) ► ► Lilian Nakao Nakahodo por Julia Teles Interviewing Annette Vande Gorne 4 5 iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
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