Notes2016-2017 SEASON of EVENTS Welcometo ANOTHER EXCITING YEAR at Uoft MUSIC!
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Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights. -
Production Notes
Production Notes ABOUT THE FILM Timed to the 50th anniversary of NASA’s celebrated Apollo 11 mission, Apollo 11: First Steps Edition is a thrilling cinematic experience that showcases the real-life moments of humankind’s first steps on the Moon. In this special giant screen edition of Todd Douglas Miller’s (Dinosaur 13) critically acclaimed Apollo 11 documentary, the filmmakers reconstruct the exhilarating final moments of preparation, liftoff, landing, and return of this historic mission—one of humanity’s greatest achievements, and the first to put humans on the Moon. It seems impossible, but this project was possible because of the discovery of a trove of never-before-seen 70mm footage and uncatalogued audio recordings—which allowed the filmmakers to create a 47-minute version of the film tailored exclusively for IMAX® and giant screen theaters in science centers and museums. Apollo 11: First Steps Edition is produced by Statement Pictures in partnership with CNN Films. The film is presented by Land Rover, and distributed by MacGillivray Freeman Films. “The Apollo 11 mission was humanity’s greatest adventure and we’re pleased to be bringing this edition to science centers and museums everywhere,” says director Todd Douglas Miller. “This film was designed to take full advantage of the immersive quality of IMAX and giant screen theaters.” But how did it happen? How did this one-in-a-lifetime batch of footage remain undiscovered for fifty years? Miller explains that as his team was working closely with NASA and the National Archives (NARA) to locate all known Apollo 11 footage, NARA staff members simply discovered reels upon reels of 70mm, large-format Apollo footage. -
Introduction to Electronic Music
introduction to electronic music Bruno Ruviaro 2011-05-31 Stanford University CCRMA (Center for Computer Research in Music and Acoustics) Glitch Dataplex (2005), by Ryoji Ikeda Mash Up All Day (2010), by Girl Talk Plunderphonics Dab (1989), by John Oswald Turntablism Christian Marclay Grandmaster Flash 1980s 1980s Computer music Turenas (1972) by John Chowning Acousmatic music Tremblement de terre très doux (1978) by François Bayle orchestra of loudspeakers, cinéma sonore, GRM Early analog synthesizers Late 1960s: Wendy Carlos Isao Tomita Early computer music Late 1950s: Max Mathews Lejaren Hiller Early analog synthesizers Late 1960s Wendy Carlos Isao Tomita Early computer music Late 1950s Max Mathews Lejaren Hiller Early analog synthesizers Late 1960s Wendy Carlos Isao Tomita Early computer music Late 1950s Max Mathews Lejaren Hiller Text-sound composition Visage (1961) by Luciano Berio speech & music, radiophonic art, linguistics Stochastic music Concrete P.H. (1958) by Iannis Xenakis sound masses, formalized music, UPIC, music & architecture Elektronische Musik Gesang der Jünglinge (1955-6) by Karlheinz Stockhausen serialism, Cologne studio, sinusoidal school Musique Concrète Étude aux chemins de fer (1948) by Pierre Schaeffer sound object, acousmatic music, concrete sound John Cage Imaginary Landscape #1 (1939) Edgard Varèse Organized Sound Music as Art-Science (1930s) Luigi Russolo Futurism Art of Noises (1913) First electronic instruments Theremin (1920) Telharmonium (1901) . n o i s e n o i s e truck n o i s e truck static n o i s e truck static rain . n o i s e truck static rain . musical instruments! John Cage (1912-1992) But after all, what is music but organized noises? And a composer, like all artists, is an organizer of disparate elements. -
BEAUTIFUL NOISE Directions in Electronic Music
BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape. -
CENTERFOLD • PPINGLIST * , ..., * Paa4' 2' December 4, 1984 December 4, 1984 the Ticker The'deker Page 3
.1932 * The Students' Voice for Over SO Years ·1984· Vol. 52 No.7 Baruch College, CUNY December 4, 1984 StudeBt-TeaeIter WBMB May Lose Funding Evaluations To Unless It Meets Four Conditions Be Held This' Fall Three Have Been Met By Eric J(un By Eric J. Fox According to Anatoly Herman, the chairman of the Communica Student evaluations of teachers WBMB, the college radio sta tions Board, the submission of a will be held this fall but there will tion, may lose its funding unless it written time-frame for full broad be no spring evaluations, although complies with four conditions set casting capabilities "will result in a students say evaluations should be " .. "" -';'.-. --::" by the Baruch College Communica significant improvement in the held both semesters. tions Board, according to Ronald quality of programs." The Com Jeffrey Weiss, chairperson of the' ..; M. Aaron. the associate dean of munications Board is responsible student council, said that evalua The bathroom where the incident is said to have occurred. students. for allocating money to Baruch , tions held "once a year is not "A lot of money has been in College media. r- _.' enough." Weiss explained that a vested into the operation of WBMB has complied with ~e\ student can only voice his or her Three Students Robbed In Bathroom; WBMB," said Aaron, "and ques first condition, according ~ tb" opinions about a teacher once a tions were raised last year by an ar Aaron. "The initial report did year. Since students have different Second Incident In Two Weeks ray of board members as to where come in well before Oct. -
Thesis Writing Deliverables (Pdf)
DEFENSE SPEECH Discovering and listening to music has always been my biggest passion in life and my primary way of coping with my emotions. I think its main appeal to me since childhood has been the comfort it brings in knowing that at some point in time, another human felt the same thing as me and was able to survive and express it by making something beautiful. For my project, I recorded a 9 track album called Strange Machines while I was on leave of absence last year. This term, I created a 20 minute extended music video to accompany it. All of this lives on a page I coded on my personal website with some fun bonus content that I’ll scroll through at the end of this presentation. I’ll put the link in the comments so anyone who’s interested can check it out at their own pace. I have so much fun making music and feel proud when I have a cohesive finished product at the end. I’m not interested in becoming a virtuoso musician or a professional producer. A lot of trained musicians gatekeep, intimidate, and discourage amateurs. People mystify and mythologize the creative process as if it’s the product of some elusive, innate genius rather than practice, experimentation, and a simple love of music. As someone who’s work exists entirely as digital recordings, there’s no inherent reason for me to be an amazing guitar player who can play a song perfectly all the way through, as mistakes can be easily cut out and re-recorded. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
Mediendossier D (176
Mediendossier trigon-film Love and Honor (Bushi no Ichibun) von Yoji Yamada, Japan 2006 VERLEIH trigon-film Limmatauweg 9 5408 Ennetbaden Tel: 056 430 12 30 Fax: 056 430 12 31 [email protected] www.trigon-film.org MEDIENKONTAKT Tel: 056 430 12 35 [email protected] BILDMATERIAL www.trigon-film.org MITWIRKENDE Regie: Yoji Yamada Drehbuch: Yoji Yamada, Emiko Hiramatsu, Ichiro Yamamoto Literarische Vorlage Shuhei Fujisawa («Moumokuken Kodamagaeschi» aus «Kakushi Ken Shufusho») Kamera: Mutsuo Naganuma Schnitt: Iwao Ishii Ton: Kazumi Kishida Beleuchtung: Takeshi Nakasu Musik: Isao Tomita Dekor: Naomi Koike Kostüme: Kazuko Kurosawa Produktion: Shochiku, Tokyo Produzenten: Takeo Hisamatsu, Junichi Sakomoto, Hiroshi Fukasawa, Ichiro Yamamoto Dauer: 121 Minuten Sprache/UT: Japanisch/d/f DARSTELLENDE Takuya Kimura ( 2046 ) Shinnojo Rei Dan Kayo Takashi Sasano ( The Hidden Blade , Free & Easy Series ) Nenji Kobayashi ( Café Lumière , The Twilight Samurai ) Makoto Akatsuka ( The Hidden Blade , The Twilight Samurai ) Toshiki Ayata Koen Kondo Nobuto Okamoto Tokie Hidari Yasuo Daichi Ken Ogata ( The Hidden Blade , Vengeance is Mine ) Kaori Momoi ( Memoirs of a Geisha , The Sun , Izo ) Mitsugoro Bando ( Rikyu , Sharaku ) 0E.TIVALS & AUSZEICHNUNGEN Award of the Japanese Academy: Best Cinematography, Best Lighting, Best Supporting Actor Blue Ribbon Award, Taiwan: Best New Actress Sponichi Grand Prize New Talent Award Golden Goblet: Best Music INHALT Der Film basiert auf der Kurzgeschichte ‚The Blind Sword: «Echo of Vengeance» aus «The Hidden Blade: Autumn Breeze Collection» von Shuhei Fujisawa. Nach The Twilight Samurai und The Hidden Blade vervollständigt Yamada mit Love and Honor seine Samurai-Trilogie. Kurz nachdem er seinen Posten als Vorkoster angetreten hat, wird Shinnojo blind. -
Tomita Documentation Release 0.2.0
tomita Documentation Release 0.2.0 g4brielvs May 04, 2020 Contents: 1 python-tomita 3 1.1 About...................................................3 1.2 Features..................................................3 1.3 PySynth..................................................3 1.4 License..................................................4 2 Installation 5 2.1 Stable release...............................................5 2.2 From sources...............................................5 3 Usage 7 4 tomita 9 4.1 tomita package..............................................9 5 Contributing 13 5.1 Types of Contributions.......................................... 13 5.2 Get Started!................................................ 14 5.3 Pull Request Guidelines......................................... 15 5.4 Tips.................................................... 15 5.5 Deploying................................................ 15 6 Credits 17 6.1 Development Lead............................................ 17 6.2 Contributors............................................... 17 7 History 19 7.1 0.2.0 (2020-05-03)............................................ 19 7.2 0.1.0 (2020-05-02)............................................ 19 8 Indices and tables 21 Python Module Index 23 Index 25 i ii tomita Documentation, Release 0.2.0 Contents: 1 tomita Documentation, Release 0.2.0 2 Contents: CHAPTER 1 python-tomita tomita is a command-line music and synthesizer package. • Free software: GNU General Public License v3 • Documentation: https://tomita.readthedocs.io. -
Tutoriales De Síntesis Con Reaktor
UNIVERSIDAD POLITECNICA DE VALENCIA ESCUELA POLITE CNICA SUPERIOR DE GANDIA I.T. Telecomunicación (Sonido e Imagen) “Diseño y tutorial de un sintetizador con la herramienta software Reaktor” TRABAJO FINAL DE CARRERA Autor/es: Alberto Sola Salguero Director/es: Jose Javier López Monfort Antoni Josep Canós Marín GANDIA, 2010 Índice 1. Introducción 2. Fundamentos del Audio Digital Audio analógico y digital. Breve repaso histórico. Digitalización de las señales Procesado digital de audio: filtros, efectos, dinámica 3. MIDI Definición Historia Conexión Básica Configuraciones Soportes Codificación General MIDI 4. Síntesis de Sonido Introducción y definición Armónicos y formas de onda El Oscilador y la Envolvente Síntesis analógica vs Síntesis digital VSTs y SDK Tipos de síntesis 5. Tutorial de Síntesis con Reaktor Historia y situación actual Descripción básica de los elementos de Reaktor Diseño de un Instrumento básico Diseño de un Instrumento mediante dos tipos de síntesis: o Síntesis sustractiva o Síntesis FM 6. Conclusión Bibliografía Apuntes Audio Digital „Teoría y Técnica de la Música Electrónica‟ Miller Puckette www.duiops.net Hispasonic La Oreja Digital Abird www.vintagesynth.com Native Instruments website Manual de Reaktor Wikipedia 1. INTRODUCCIÓN La síntesis de sonido está íntimamente relacionada con la música. Los primeros sintetizadores fueron diseñados para emitir sonidos, pero acto seguido se dieron cuenta de que su aplicación en la música sería inmediata. Ya los mismos Theremin, enteramente electro-acústicos, eran usados para crear música. El punto de inflexión fue Walter Carlos con su Switch-On Bach. Había sido uno de los primeros clientes de Robert Moog, habiendo incluso participado en ensayos de su primer sintetizador, hasta que en el año 1968, Carlos publica Switch-On Bach, uno de los álbumes clásicos más vendidos de todos los tiempos, donde recrea la obra de Bach con sintetizadores. -
Electronic Music
ELECTRONIC MUSIC Definitions Electronic music refers to music that emphasizes the use of electronic musical instruments or electronic music technology as a central aspect of the sound of the music. Basics Electronic music refers to music that emphasizes the use of electronic musical instruments or electronic music technology as a central aspect of the sound of the music. Historically electronic music was considered to be any music created with the use of electronic musical instruments or electronic processing, but in modern times, that distinction has been lost because almost all recorded music today, and the majority of live music performances, depends on extensive use of electronics. Today, the term electronic music serves to differentiate music that uses electronics as its focal point or inspiration, from music that uses electronics mainly in service of creating an intended production that may have some electronic elements in the sound but does not focus upon them. Contemporary electronic music expresses both art music forms including electronic art music, experimental music, musique concrète, and others; and popular music forms including multiple styles of dance music such as techno, house, trance, electro, breakbeat, drum and bass, industrial music, synth pop, etc. A distinction can be made between instruments that produce sound through electromechanical means as opposed to instruments that produce sound using electronic components. Examples of electromechanical instruments are the teleharmonium, Hammond B3, and the electric guitar, whereas examples of electronic instruments are a Theremin, synthesizer, and a computer. History Late 19th century to early 20th century Before electronic music, there was a growing desire for composers to use emerging technologies for musical purposes. -
The Emergence of Art Rock (1980)
10 The Emergence of Art Rock (1980) John Rockwell Long, flat expanses ofprofessionalism bother me. I'd rather have a band that could explode at any time. And I think that's what people like too: soul and expression and realfire and emotion more than peifection. -Neil Young (Kohut and Kohut 1994, 99) The deluded notion that we're making anything but sugar is nuts. I'm not saying that sugar doesn't taste good, but it burns fast. It's not meant to last. This is not classical music. -Gene Simmons of Kiss, 2002 (Rabin 2002, 14) Rock is like a battery that must always go back to the blues to get recharged. -Eric Clapton (Szatmary 2009, 188) In "The Emergence of Art Ro~k" John Rockwell documents the history and musical elements of early prog (or progressive, or art) rock, and suggests that if rock music exhibits a life cycle comparable to other arts and artistic movements (youth, maturity, decay), we might broadly characterize its first two decades as follows: the '50s was a period of youthful exuberance, the '60s a time of healthy maturity, and the early '70s an era of decline and decadence. For some, prog rock was thus a terminal "cancer." Inevitably, death is followed by life, in this case the birth in the mid-70s of punk rock, which brought back the energy and excitement of the '50s. If we accept Rockwell's three-part scheme, we might then ask: Has rock experienced a similar life cycle (or cycles) since the mid '70s? If so, how might we describe that cycle? Rockwell, who served as both classical music critic and chief pop music critic for The New York Times, also observes that most of the art rock bands were English, and for a good reason.