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Realities – Knowledge, Care and Respect for Nature Are Human Values. Realities “Values: Cast in Concrete, Clad in Glass, Shaded in Colours, Given Space and Function
real numbers ANNUAL REPORT 2012 Realities – knowledge, care and respect for nature are human values. REALITIES “VALUES: CAST IN CONCRETE, CLAD IN GLASS, SHADED IN COLOURS, GIVEN SPACE AND FUNCTION. FORMING AND real numbers CREATING ARE THE FUNDAMENTAL pillars of our success.“ KEY FIGURES 2012 Key profit & loss figures 1991 in € million 2012 Change in % 2011 2010 1992 Total annual output 258.3 –8.4 281.9 217.0 1993 of which: international in % 78.0 –13.0 PP 91.0 86.9 1994 Operating profit 6.8 –70.6 23.1 25.8 1995 Earnings before taxes (EBT) 12.0 –17.8 14.6 14.4 1996 Profit after tax 13.1 47.2 8.9 9.4 1997 Retained profit 3.3 – 3.3 3.3 1998 Return on capital employed in % 4.0 – 4.0 4.9 1999 Return on equity in % 8.8 2.5 PP 6.3 6.9 2000 2001 Balance sheet figures in € million 2012 Change in % 2011 2010 2002 Total assets 634.0 7.0 592.6 559.3 2003 Equity ratio as % of total assets as at 31 Dec. 24.2 –0.2 PP 24.4 24.9 2004 Investments 50.0 –30.3 78.7 72.4 2005 Amortisation and depreciation 2.4 41.2 1.7 1.5 2006 2007 Stock market figures* 2012 Change in % 2011 2010 2008 Earnings per share in € 2.04 23.6 1.65 1.53 2009 Dividend per share in € 1) 0.55 – 0.55 0.55 2010 Pay-out ratio in % 27.0 –18.9 33.3 35.9 2011 2012 1) Proposal to general meeting of shareholders *The 2012 share split is taken into account in the previous-year figures In the early 1990s, UBM AG was a rather small but stable player on the market. -
Part 1 Part 2 13 May 2016, 10Pm 14 May 2016, 9.30Pm Schloss Leuk Schloss Leuk
Forum Wallis Ars Electronica Selection 2016 1/6 Part 1 Part 2 13 May 2016, 10pm 14 May 2016, 9.30pm Schloss Leuk Schloss Leuk Nicholas Chase Nicholas Chase hai•ku 1.1 hai•ku 1.2 world premiere (version FW) European premiere Leonie Roessler James Andean Stop en Luister, Den Haag! (Stop and Listen, The déchirure Hague!) Swiss premiere Swiss premiere Robert Fleisher Orestis Karamanlis Loretto Alfresco Toys Swiss premiere Swiss premiere Jannik Giger Manfredi Clemente Fragmentum II Les dimensions du réel Dave Gedosh Swiss premiere Guitar Construction #2: Progressive Fracture Emilie Payeur European premiere Fumes Bihe Wen world premiere Regression Christoffer Schunk European premiere Until No Longer Effective Joseph Michaels European premiere Ein geschlossener Waffenstillstand Mirjana Nardelli Swiss premiere There is Nothing Left to Fear European premiere Laurence Bouckaert Mémoires de femmes, paysage, passage Yasuhiro Otani European premiere nOt well Nothing noT Almost world premiere John Nichols Nothing That Breathes Mikel Chamizo European premiere Nieve world premiere Marco Molteni Rubber, Lime & Glue (ePWsM 04) Jannik Giger Swiss premiere blind Michael Sterling Smith Peter Streiff Ictus Chronos-Kairos (1972) Swiss premiere Charles Halka Stephen Lilly 'Live Bass Improv ...in a shower of all my days... Swiss premiere Swiss premiere Alain Michon Eau de feu Nicholas Chase Swiss premiere hai•ku 2.3 world premiere (version FW) Phil Taylor Pathways world premiere Schloss Leuk, 13 May 2016, 10pm & 14 May 2016, 9.30pm www.ForumWallis.ch Forum Wallis Ars Electronica Selection 2016 2/6 Mikel Chamizo (ESP) Yasuhiro Otani (JP) Emilie Payeur (CAN) Nieve (world premiere) nOt well Nothing noT Almost (world premiere) Fumes (world premiere) Nieve (snow) is inspired by the falling of the Duration; 13:48. -
DI Martin Löcker, Heribert Smolé, Mag
Building Future. Since 1873. If you would like to shape the future, you need a vision to strive towards, passionately and energetically. And hands for getting to grips with things. Hands in which all the threads come together. Hands that you control with your heart and mind. UBM has been building on this philosophy for 140 years. Successfully. - RES KEY KEY FIGU Key profit and loss figures in € Million 2013 Change in % 2012 restated 2011 Total annual output 286.7 +11.0 258.3 281.9 of which: international in % 88.0 +10.0 PP 78.0 91.0 Operating profit 29.4 +432.4 6.8 23.1 Earnings before taxes (EBT) 17.8 +38.0 12.9 14.6 Profit after tax 13.5 –1.5 13.7 8.9 Retained profit 3.8 +15.2 3.3 3.3 Return on capital employed in % 5.6 +1.4 PP 4.2 4.0 Return on equity in % 10.9 2.5 PP 8.4 6.3 Balance sheet figures in € MILLION 2013 Change in % 2012 restated 2011 Total assets 630.8 –0.4 633.0 592.6 Equity ratio as % of total assets as at 31 Dec 26.0 +1.8 PP 24.2 24.4 Investments 26.3 – 47.4 50.0 78.7 Amortisation and depreciation 2.4 – 2.4 1.7 STOCK MARKET FIGURES* 2013 Change in % 2012 restated 2011 Earnings per share in € 2.14 – 0.5 2.15 1.65 Dividend per share in EUR 1) 0.62 +12.7 0.55 0.55 Pay-out-ratio in % 29.0 +7.4 27.0 33.3 * the 2012 share split is taken into account in the 2011 figures 1) Proposal to general meeting of shareholders - In the early 1990s, UBM AG was a rather small but stable player on the market. -
Tempo Reale Corfu Concert – 29/6/2013 – 21.00 Carlo Maria
Tempo Reale Corfu Concert – 29/6/2013 – 21.00 Carlo Maria Amadio Un tributo a Jaco Pastorius (2012) Salvatore Miele La natura frattale (2011) Lelio Camilleri Four Haiku (2011) Water | Rubber | Voices |Strings Mattia Bonafini Photos of Helsinki (2011) Francesco Giomi Scabro (2011) Stefano Diso Let me be misunderstood (2012) Lelio Camilleri Minimal poems (based on poems by Aram Saroyan) (2012) The program is based on pieces which extend the concept of soundscape: soundscape of cities and real world sounds but also of pre-existent music, material, words. The composers of these pieces belong to the center Tempo Reale, Florence and the Conservatory of Music G.B. Martini, Bologna. =========================== Carlo Maria Amadio - Un tributo a Jaco Pastorius (2011) 5’36 It is an electro-acoustic composition made on pre existent materials taken from Jaco Pastorius and Weather report music. I've tried to select and rework the most characteristic features of Pastorius poetry of playing. Carlo Maria Amadio is currently involved in different fields of electronic music as composer, live performer, student and obviously listener. He is currently attending the last year of the Electronic Music course at Conservatory “G.B. Martini ” of Bologna where he had the occasion of playing in two concerts mainly focused on improvisation and live electronic performance. In addition to the academic experiences he performed with HOLO – laptop ensamble and in May of 2013 he have released on Soluxion Record Netlabel his first EP, a work focused on techno music. Salvatore Miele - La Natura frattale (2011) 10’42” La Natura frattale is an acousmatic composition inspired by soundscapes concerning the self-similarity, which characterizes the fractal, as well as in the selection of material and gestural elements. -
Sardinian Composers of Contemporary Music
Interdisciplinary Studies in Musicology 12,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 CONSUELO GIGLIO Music Conservatory, Trapani Sardinian composers of contemporary music ABSTRACT: The meeting point between the school headed by Franco Oppo and the rich traditional music of the island gave birth in Sardinia to an intense flowering in the field of New Music, with a strong feeling of belonging and a constant call for a positive concept of identity. Thus, since the time of Oppo (1935) and his contemporary Vittorio Montis, we come across many composers that differ between each other but are almost always recognizably “Sardinian”. Oppo has been one of the most interesting figures on the international scene during the last few decades. After his studies in Rome, Venice and Poland in the early 1960s, he remained, by his own choice, in his home territory, sharing his “Sardinian-ness” in a free and dialectic manner with the avant-garde. After formulating his own particular aleatory approach, Oppo reached a turning point halfway through the 1970s: in Musica per chitarra e quartetto d’archi, Praxodia and, finally, in Anninnia I, the meeting point between avant-garde research and the special phonic quality of tra ditional music became more and more close-knit and organic, at the same time also acting on the founding language structure whilst still remaining under the control of incisive and informed dis ciplines (during the same period, moreover, he put forward new methodologies of analysis which were also necessary for his teaching). In this sense the most important works are chamber pieces like Anninnia I and II (1978, 1982), Attitidu (1983) and Sagra (1985), the theatrical work Eleonora d’Arborea (1986), some piano “transcriptions” - the Three berceuses (1982), Gallurese and Baroniese (1989; 1993) - Trio III (1994), Sonata B for percussion and piano (2005) and the two Concerts for piano and orchestra (1995-97; 2002). -
The Art of Resilience: SESSION REPORT Creativity, Courage 573 and Renewal
The Art of Resilience: SESSION REPORT Creativity, Courage 573 and Renewal CULTURE, ARTS AND SOCIETY Session 573 | The Art of Resilience: Creativity, Courage and Renewal Salzburg Global Seminar would like to thank the Edward T. Cone Foundation for its generous support of Session 573 and all participants for donating their time and expertise to this Session. 2 Session 573 February 7 to 12, 2017 Salzburg, Austria The Art of Resilience: Report Author: Creativity, Courage Margaux Portron Interviews: and Renewal Andrea Abellan Photos: Herman Seidl & Denise Macalino Editors: Louise Hallman & Susanna Seidl-Fox Cover Image: Petteri Sopanen 3 Session 573 | The Art of Resilience: Creativity, Courage and Renewal Table of Contents 5 Summary 9 Introduction Welcome and Session Overview 11 Opening Conversation An Artist Reflects on Resilience INTERVIEW: Anida Yoeu Ali – “You can have very powerful conversations without speaking a single word” 15 Thematic Discussions Refugees, Migration, Integration Fellows’ Group Work and Recommendations: MAM – Migrant Artist Manifesto INTERVIEW: Chadi Bahouth – “It is very hard to stand your ground inside a newsroom where you are the only person coming from an ethnic minority in a big group of middle-class, white people” 21 Urban Upheaval and Social Injustice Fellows’ Group Work and Recommendations: HURBANIZATION/URMANIZATION INTERVIEW: Orijit Sen – “Comics allow the audience to identify with the characters – it lets them enter their world” 27 Post-Conflict Settings: Trauma, Reconciliation and Renewal Fellows’ Group -
Anaconda-Becoming: Huni Kuin Image-Songs, an Amerindian Relational Aesthetics
Artigos Articles http://dx.doi.org/10.1590/S0104-71832018000200002 Anaconda-becoming: Huni Kuin image-songs, an Amerindian relational aesthetics Devir-anaconda: huni kuin cantos-imagem, uma estética relacional ameríndia Els Lagrou * * Universidade Federal do Rio de Janeiro – Rio de Janeiro, RJ, Brazil [email protected] Horiz. antropol., Porto Alegre, ano 24, n. 51, p. 17-49, maio/ago. 2018 18 Els Lagrou Abstract After depicting the contemporary scene of Huni Kuin ayahuasca shamanism and artistic agency, I analyze a selection of image-songs from this ritual. The songs unveil the workings of embodied perception and synesthesia, that is, the transductions of bodily sensations and perceptions in vision, rhythm, song and sound. The experience entails a process of other-becoming where to know means to see through the eyes of Other; to be covered with the skin/ornaments of those beings one has consumed and to sing through their voice. This other-becoming is a becoming in a deleuzian sense, which means that the lived experience is situated in-between the space of self and other. In this context the expression “you are what you eat” has specifi c implications for one’s health and for the acquisition of agentive and perceptive capabilities of other beings. The ritual technique of almost becoming consists of alternatingly producing and undoing temporary transformations through song. Keywords: shamanism; ayahuasca; Amerindian relational aesthetics; song. Resumo Depois de apresentar a cena contemporânea da agencia artística e do xamanismo ayahuasqueiro dos Huni Kuin, apresento uma seleção de seus cantos-imagem. Os cantos revelam a lógica de uma percepção incorporada e sinestésica, isto é, as trans- duções de sensações corporais e percepções entre visão, ritmo, canto e som. -
MUSLAB UAM 00 10.Pdf
Paolo Pastorino (1983) is an italian guitarist, composer. UAM-X(sound installation with 3 bass loudspeakers and very Since 2006 he starts to work as sound engineer for some low frequency waves) and HF 114 (electronic composition Rock, Industrial and Nu-Metal bands. He studied and for 7 transmitters) more and more means from the graduated in computer music and sound technology at area of the electronic music, the sound design, the high- the Conservatory of Sassari (2015). frequency engineering and the internet are included in his artistic conception. In his works he use not only electronic instruments e electronic composition NEARNESS was published and algorithms realized by soware but also tradiional on the “Sonic Circuit” festival CD 2001. instruments electronically elaborated and others concrete e 3rd string quartet (1998/99) was played by the Nevsky elements existents in nature. His experience doesn´t string of Quartet St. Petersburg for the rst time. regards only traditional and electronic composing, but CD production for „Ich schulde der Welt einen Toten“ also the implementation of control systems, developed (theatre play 1997). on MAX MSP, for live electronics and for assisted He got the composition price of the city of Stuttgart (1982) and the composition price “Luis de Narvàez” Granada (1993) for the 1st and 2nd string quartet. Recordings made by WDR, ORF, Deutschlandradio, radio Koper, Ljubljana-TV and BR. Compositions for chamber ensemble, orchestra, Christoph eiler electronics, theatre and radio play. (1959/BRD) Concerts and performances in Austria, Germany, Switzerland, former Yugoslavia, Italy, Spain, Belgium, Paolo Pastorino “Raumloser Ort“ means Room-less place, a place with France, no dimensions. -
Il Corpo Nel Suono Curatore Del Progetto Cristiano Grifone Il Corpo Nel Suono – I
il Corpo nel Suono 1 Curatore del progetto Cristiano Grifone Il Corpo nel Suono – I 2017 a cura di / edited by Cristiano Grifone Contributi di / Contributions by Marco Ariano Paolo Demitry Philip Feeney Kim Helweg Valentina Iadeluca Han Otten Jonathan Still Keith Terry Aracne editrice www.aracneeditrice.it [email protected] Copyright © MMXVII Gioacchino Onorati editore S.r.l. – unipersonale www.gioacchinoonoratieditore.it [email protected] via Vittorio Veneto, 20 00020 Canterano (RM) (06) 45551463 isbn 978-88-255-0647-1 I diritti di traduzione, di memorizzazione elettronica, di riproduzione e di adattamento anche parziale, con qualsiasi mezzo, sono riservati per tutti i Paesi. Non sono assolutamente consentite le fotocopie senza il permesso scritto dell’Editore. I edizione: ottobre 2017 Indice / Index Parte I Italiano 9 Premessa. Atti impuri Cristiano Grifone 11 Tra musica e danza. Keith Terry racconta la Body Music in una intervista di Valentina Iadeluca Keith Terry Valentina Iadeluca 25 Fluido, relazionale, di movimento. Verso una musicologia dell’esperienza musicale quotidiana in ambito coreutico Jonathan Still 37 Ripensare Bizet per rottami metallici e parti di automobili. Musica per Car–Men Han Otten 53 Farsi Fuori. Fenomenologia del corpo–suono e improvvisa- zione come evento Marco Ariano Paolo Demitry 67 Come i danzatori ascoltano la musica Philip Feeney 77 Dalla Sinfonia al Plié. Osservazioni sulla pratica coreomusi- cale nella lezione di danza classica Kim Helweg 89 Gli autori 5 6 Indice / Index Parte II English 97 Foreword. Impure Acts Cristiano Grifone 99 Between music and dance. Keith Terry talks about Body Music in an interview by Valentina Iadeluca Keith Terry Valentina Iadeluca 111 Mobile, fluid and relational. -
La Web 2.0 Como Red Social De Comunicación E Información
La Web 2.0 como red social de comunicación e información MARIANO CEBRIÁN HERREROS [email protected] Universidad Complutense de Madrid Recibido: 26 de febrero de 2008 Aceptado: 12 de mayo de 2008 RESUMEN Se parte de la delimitación del concepto de la web 2.0 como expansión de las redes sociales de comunicación y se analizan sus desarrollos y aplicaciones, los nuevos modelos de comunicación interactiva que se generan y la innovación de los campos informativos. Se resalta el paso del control informativo de los medios de comunicación tradicionales y de la web 1.0 al papel que asume la sociedad civil para informarse interactivamente. Se examinan algunas aportaciones representativas y sus riesgos. En las nuevas redes sociales de comunicación la organización de los procesos ya no depende de los emisores, sino de las relaciones que contraen todos los participantes entre sí al intercambiarse los papeles de emisores y receptores hasta convertirse cada uno de ellos en un “EMEREC”, en un ser emisor-receptor. Palabras clave: Web 2.0, red social, modelos de comunicación, información, interactividad The Web 2.0 as Social Network of Communication and Information ABSTRACT It starts with the delimitation of the concept of Web 2.0 as expansion of the social networks of communication and analyzes their developments and applications, the new models of interactive communication that are generated and the innovation in the fields of the information. It highlights the step of control of the information traditional media and web 1.0 to the role assumed by the civil society to inform interactively herself. -
Program Note St. Merri JIM 2017
JIM - Journées d’informatique musicale Depuis 1994, chaque année, les Journées d’Informatique Musicale réunissent des chercheurs, développeurs et différents acteurs de la vie musicale utilisant l’informatique comme outil de diffusion, de création, d’interprétation ou de pédagogie. Le concert organisé ce soir est composé des 6 oeuvres des lauréats du concours JIM 2017 » sélectionnées par un jury international de 30 membres qui a dû choisir parmi 70 pièces. À l’occasion de ce concert, est présentée la création mondiale Prémisses pour corps infini d’Anne Sèdes, keynote JIM 2017 et 2 étudiants en composition acousmatique du Pôle Supérieur d'enseignement artistique Paris Boulogne-Billancourt (PSPBB). Concert organisé avec le soutien du Collegium Musicæ de Sorbonne Universités et en collaboration avec les Journées d’informatique musicale 2017, Motus et TPMC (Tout Pour la Musique Contemporaine). ——— PROGRAMME James O’Callaghan : For or from pour soprano, flûte et traitement Daniel Arango-Prada : Extase délicate de la mobilité pour musique acousmatique Ali Ostovar : Le corde sul corpo pour santoure et électronique Raphaël Duquesnois : Domisoldo pour musique acousmatique (PSPBB) Vincent Guiot : Reste(s) pour musique acousmatique Entracte Anne Sèdes : Prémisses pour corps infini pour version fixée en octophonie (CM) James O’Callaghan : Objects-Interiors pour musique acousmatique Mirjana Nardelli : Against the grain pour musique acousmatique (PSPBB) Yixuan Zhao : Xuan Niao pour guzheng, accordéon et électronique * Projection des oeuvres acousmatiques sur l'acousmonium MOTUS par Olivier Lamarche et Nathanaëlle Raboisson NOTICE James O’Callaghan : For or from (2015) pour soprano, flûte et traitement Veronica Charnley (voix), Jeffrey Stonehouse (flûte) For or from tire des sons de l'environnement, en particulier des vocalises d’animaux non- humains, et interpole ces sons avec des imitations instrumentales et vocales. -
5 from the Forest to the Museum: Notes on the Artistic and Spiritual Collaboration Between Ernesto Neto and the Huni Kuin People1
Review Copy - Not for Distribution Beatriz Labate - CIIS - 15/02/2018 5 From the forest to the museum: Notes on the artistic and spiritual collaboration between Ernesto Neto and the Huni Kuin people1 Ilana Seltzer Goldstein2 and Beatriz Caiuby Labate3 Crossing paths through ayahuasca and art The Huni Kuin people, also sometimes known as the Kaxinawá,4 speak a Pano language and live in Peru and Brazil, close to the border between the two countries. Their population numbers approximately 11,500 (Lima, Kaxinawa, Matos & Ferreira, 2014). Traditionally, ayahuasca consumption is frequent among Huni Kuin men in rituals that may last all night. The sing- ers possess a special power, guide the ceremony, and are capable of amplify- ing the effect of the beverage. Liminal visual events – experienced by the Huni Kuin in dreams, fever- ish states, and especially when under the effect of this psychoactive – allow people to participate sensorially in a cosmos in continual metamorphosis. Barbara Keifeinheim emphasizes the link between ayahuasca consumption and the visualization and production of images among the Huni Kuin (Keif- einheim, 2004). According to the author, the images are accompanied by acoustic alterations and increase in intensity through the co-occurrence of sounds. The effect of the song derives less from the texts than from the rhythm, volume, and tone. This synesthetic nature of the experience of ayahuasca consumption among the Huni Kuin, which, as we shall see later, so fascinated the Brazil- ian contemporary artist Ernesto Neto, is reiterated by anthropologist Els Lagrou: The songs are very important to producing visions, to guide the people who participate in this ritual, and to teach them to see what they are seeking to see and, above all, enabling them not to become lost .