19-04 Newsflash April
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
THE CARETAKER Everywhere at the End of Time
DESCRIPTION The Caretaker dispatches the final scene of a 20 year-long act that has uncannily lurked in the shadows of so many of our listening lives. Clad for the last time in Ivan Seal 's specially commissioned artwork, this final stage sees The Caretaker mirroring the ultimate descent into dementia and oblivion, again using a patented prism of sound to connote a final, irreversible transition into the haunted ballroom of the mind that he first stepped into in 1999. The project really took on new dimensions in 2005 with the 72-track, six-CD boxset Theoretically Pure Anterograde Amnesia , which was accompanied by an insightful unpackaging of its ideas by cultural critic Mark Fisher , aka K-Punk; a stalwart of the project who identified it (alongside music from Burial and Broadcast ) among the most vital, emergent works of hauntological art -- a form of music often preoccupied with ideas about memory and nostalgia (but one distinct from pastiche), and the way that they possibly overwhelm, occlude, or even define our sense of being. By using fusty samples from an obsolete analog format, and by doing so in the second decade of the second millennium, The Caretaker perfectly and perversely bent ideas of anticipation/expectation with his arrangements, playing with notions of convention and repetition. The project crystallized as a real gesamtkunstwerk for THE CARETAKER these times, and one arguably defined by a stubborn and intractably chronic drive against the grain of modern popular culture, or even a refusal of it. And so to the Everywhere At The End Of project's final goodbye. -
RE-ANIMATING GHOSTS MATERIALITY and MEMORY in HAUNTOLOGICAL APPROPRIATION Abstract
INTERNATIONAL JOURNAL OF FILM AND MEDIA ARTS (2019) Vol. 4, Nº. 2 pp. 24-37 © 2019 BY-NC-ND ijfma.ulusofona.pt DOI: 10.24140/ijfma.v4.n2.02 RE-ANIMATING GHOSTS MATERIALITY AND MEMORY IN HAUNTOLOGICAL APPROPRIATION Abstract This research examines the spectrality of an- MICHAEL PETER SCHOFIELD imation and other media based on the photo- graphic trace. Using diverse examples from pop- ular culture and the author’s own investigative practice in media art, this paper looks at how ar- chival media is re-used and can be brought back to life in new moving image works, in a gesture we might call hauntological appropriation. While sampling and re-using old materials is nothing new, over the last 15 years we have seen an ongoing tendency to foreground the ghostly qualities of vintage recordings and found foot- age, and a recurrent fetishisation and simula- tion of obsolete technologies. Here we examine the philosophies and productions behind this hauntological turn and why the materiality of still and moving image media has become such a focus. We ask how that materiality effects the machines that remember for us, and how we re- use these analogue memories in digital cultures. Due to the multimodal nature of the author’s creative practice, photography, video art, doc- umentary film and animation, are interrogated here theoretically. Re-animating the ghosts of old media can reveal ontological differences between these forms, and a ghostly synergy be- tween the animated and the photographic. Keywords: hauntology, animation, memory, media * University of Leeds, United Kingdom archaeology, appropriation, ontology, animated [email protected] documentary 24 RE-ANIMATING GHOSTS MICHAEL PETER SCHOFIELD Every culture has its phantoms and the spectral- how we can foreground their specific materiality, and the ity that is conditioned by its technology (Derrida, haunting associations with personal and cultural memory Amelunxen, Wetzel, Richter, & Fort, 2010, p. -
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra Za Muzikologiju
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra za muzikologiju Milan Milojković DIGITALNA TEHNOLOGIJA U SRPSKOJ UMETNIČKOJ MUZICI Doktorska disertacija Beograd, 2017. Mentor: dr Vesna Mikić, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet muzičke umetnosti, Katedra za muzikologiju Članovi komisije: 2 Digitalna tehnologija u srpskoj umetničkoj muzici Rezime Od prepravke vojnog digitalnog hardvera entuzijasta i amatera nakon Drugog svetskog rata, preko institucionalnog razvoja šezdesetih i sedamdesetih i globalne ekspanzije osamdesetih i devedesetih godina prošlog veka, računari su prešli dug put od eksperimenta do podrazumevanog sredstva za rad u gotovo svakoj ljudskoj delatnosti. Paralelno sa ovim razvojem, praćena je i nit njegovog „preseka“ sa umetničkim muzičkim poljem, koja se manifestovala formiranjem interdisciplinarne umetničke prakse računarske muzike koju stvaraju muzički inženjeri – kompozitori koji vladaju i veštinama programiranja i digitalne sinteze zvuka. Kako bi se muzički sistemi i teorije preveli u računarske programe, bilo je neophodno sakupiti i obraditi veliku količinu podataka, te je uspostavljena i zajednička humanistička disciplina – computational musicology. Tokom osamdesetih godina na umetničku scenu stupa nova generacija autora koji na računaru postepeno počinju da obavljaju sve više poslova, te se pojava „kućnih“ računara poklapa sa „prelaskom“ iz modernizma u postmodernizam, pa i ideja muzičkog inženjeringa takođe proživljava transformaciju iz objektivističke, sistematske autonomne -
Multiphonies 18-19
41E SAISON DU GROUPE DE RECHERCHES MUSICALES MULTIPHONIES 18-19 SAMEDI 1er JUIN 2019 / MAISON DE LA RADIO - STUDIO 104 CONCERT AKOUSMA inagrm.com CONTACTS Institut national de l’audiovisuel - INA GRM 19 avenue du général Mangin 75016 Paris Tél. : 01 56 40 29 88 - Email : [email protected] www.inagrm.com CRÉDITS Direction : François Bonnet Responsables Acousmonium : Philippe Dao, Emmanuel Richier Régie technique : Renaud Bajeux, Eliott Buchanan, Salomé Damien, Louise Florentiny, Elvira Nataloni Création lumière : Nordine Zouad Chargé de production : Jean-Baptiste Garcia Assistant de programmation : Jules Négrier Responsable de communication : Marie-Josiane Rouchon Administration, accueil et vente : Jessica Ciesco, Valérie Lallour Photographes : Didier Allard, Aude Paget Maquette : Lorant B. LIEUX ET CO-PRODUCTION Co-funded by the Creative Europe Programme of the European Union / GRM SAISON GROUPE DE MULTIPHONIES RECHERCHES MUSICALES 18-19 / PROGRAMME 1er JUIN 2019 - 20H00 AKOUSMA Eryck ABECASSIS & Reinhold FRIEDL « Animal électrique » (2019) / 18’ Création, commande INA GRM Hilde Marie HOLSEN « Eocene » (2019) / environ 25’ Création, commande INA GRM ENTRACTE Anthony PATERAS « Interlinear » (2019) / 26’ Création, Commande INA GRM Lucy RAILTON « Forma » (2019) / 20’ Création, Commande INA GRM 5 / GRM SAISON GROUPE DE MULTIPHONIES / PROGRAMME RECHERCHES MUSICALES 18-19 1er JUIN 2019 français, du Berliner Festspiele et du ZKM, entre autres. Il a écrit des articles ERYCK et participé à des émissions de radio sur la musique électronique, notamment ABECASSIS pour le studio de musique électronique de Cologne. Il a enseigné à l’Université & Paris VIII, Berlin UdK, l’Université Golds- REINHOLD mith de Londres, la Musikhochschule de Basel et l’Université de musique de FRIEDL Thessalonique. -
WEGART NOVINKY MAREC 2007 – 1. Časť
WEGART NOVINKY MAREC 2007 – 1. čas ť Arcade Fire – Neon Bible Netrpezlivo o čakávaný nový album kanadského súboru bol nahrávaný v kostole prerobenom na štúdio s použitím nahrávok píš ťalového organa, basových steel drums, verklíka, ale i živých nahrávok budapeštianskeho orchestra a vojenského zboru. Výsledkom je, ako sa dalo od týchto geniálnych Kana ďanov o čakáva ť, originálny a vyzretý album. Formát: CD (limitovaná edícia) CENA: 650 Sk Kat. č.: 1723674 EAN: 602517236745 Godspeed You! Black Emperor – Yanqui U.X.O. (Constellation) Montrealskí GY!BE si získali celosvetové uznanie svojou epickou, inštrumentálnou hudbou a taktiež militantne anarchistickými postojmi. Hudbu charakterizuje dramaticky gradovaný štýl, kde gitary znejú ako sláky a sláky ako bombardujúce rakety. Na svojom zrejme poslednom albume sa dnes už neexistujúca kapela zamerala na priamo čiary, intenzívny sound. Zatvorte oči a predstavte si pulzujúci život na Zemi tesne pred nukleárnou apokalypsou. A potom pomaly za čínajú pada ť bomby... Formát: CD/2LP CENA: 650/690 Sk Kat. č.: CST024 EAN: 666561002411 No-Man – Speak (Headphone Dust) Legendárni No-Man (Steven Wilson, Tim Bowness) v reedícii vydávajú albumy zo svojho najlepšieho obdobia. Speak je dozaista jeden z ich top-albumov, poetický, elegantný, nad časový, s nádhernými baladickými songami a bartókovskými hus ľami ich vtedajšieho spoluhrá ča Bena Colemana. Nájdeme tu dve coververzie songov od Donovana a Nicka Drakea. Prvá CD-edícia vyšla v roku 1999 na zna čke Materiali Sonori, táto remastrovaná digipaková reedícia vyšla vo Wilsonovom vlastnom vydavate ľstve. Formát: CD CENA: 590 Sk Kat. č.: HDNMCD11 EAN: 636551289023 Benjy Ferree - Leaving The Nest (Domino) Svieži folkový album barmana z Washingtonu, ktorý v minulosti pôsobil ako pestún (staral sa o deti režiséra Davida Lyncha), barman i neúspešný herec. -
Diplomarbeit
Diplomarbeit "„Friendly Robots“ Zur Identitätskonstruktion freundlicher Roboter im Science-Fiction-Spielfilm" Verfasserin Puneh K. Ansari angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Prof. Dr. Ramón Reichert Inhaltsverzeichnis Inhaltsverzeichnis.............................................................................................................1 Einleitung.......................................................................................................................... 3 1 Hinführung zum Thema:................................................................................................ 3 2 Terminologie.................................................................................................................. 4 2.1 Humanoide Roboter.................................................................................................... 4 2.2 Freundliche Roboter....................................................................................................6 2.2.1 Kindchenschema...................................................................................................... 8 2.2.2 Uncanny Valley...................................................................................................... 12 2.3 Humanoide Roboter als Filmfiguren – Figurenanalyse............................................ 15 3. Theoretische Grundlagen........................................................................................... -
Mark Fisher Goldsmiths, University of London / University of East London (UK)
The Metaphysics of Crackle: Afrofuturism and Hauntology Feature Article Mark Fisher Goldsmiths, University of London / University of East London (UK) Abstract There has always been an intrinsically “hauntological” dimension to recorded music. But Derrida’s concept of hauntology has gained a new currency in the 21st century, when music has lost its sense of futurism, and succumbed to the pastiche- and retro- time of postmodernity. The emergence of a 21st century sonic hauntology is a sign that “white” culture can no longer escape the temporal disjunctions that have been constitutive of the Afrodiasporic experience since Africans were first abducted by slavers and projected from their own lifeworld into the abstract space-time of Capital. Time was always-already out of joint for the slave, and Afrofuturism and hauntology can now be heard as two versions of the same condition. Keywords: Hauntology, Afrofuturism, dub, phonography, rockism Mark Fisher is the author of Capitalist Realism (2009) and the forthcoming Ghosts Of My Life: Writings on Depression, Hauntology and Lost Futures. His writing has appeared in many publications, including The Wire, Frieze, The Guardian and Film Quarterly. He is Programme Leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London and a lecturer at the University of East London. Dancecult: Journal of Electronic Dance Music Culture 5(2): 42–55 ISSN 1947-5403 ©2013 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2013.05.02.03 Fisher | The Metaphysics of Crackle 43 [In] “Phonograph Blues” . Johnson sings, with too much emotion it seems, about his broken record player. -
Skarptrommelydens Ulike Bestanddeler I Opptakssammenheng
Skarptrommelydens ulike bestanddeler i opptakssammenheng Av Vegard Fossum Hovedoppgave i musikkvitenskap Institutt for musikk og teater Universitetet i Oslo Oktober 2004 Forord Takk til Hans T. Zeiner-Henriksen, Rolf Inge Godøy, Tor Halmrast og Alexander Refsum Jensenius. Oslo, Oktober 2004 Vegard Fossum Forord ...................................................................................................................................II 1 Introduksjon ........................................................................................................................3 1.1 Innledning ....................................................................................................................3 1.2 Problemstilling og mål..................................................................................................3 1.3 Avgrensning: ................................................................................................................5 1.4 Valg av fremgangsmåte - oversikt over oppgaven .........................................................7 1.5 Kort innføring i enkelte sentrale begreper .....................................................................8 2. Skarptrommens fysikk......................................................................................................12 2.1 Oppbygging av en skarptromme .................................................................................12 2.2 Vibrerende membraner ...............................................................................................15 -
Variations #8
Curatorial > VARIATIONS ‘Variation’ is the formal term for a musical composition based VARIATIONS #8 on a previous musical work, and many of those traditional methods (changing the key, meter, rhythm, harmonies or The Relationship tempi of a piece) are used in much the same manner today by sampling musicians. But the practice of sampling is more When music can be confused for an object, a recording replacing the action it than a simple modernization or expansion of the number of describes, we are simultaneously promised total control while confronted with options available to those who seek their inspiration in the music that challenges the idea of the individual author (or the pleasure of music refinement of previous composition. The history of this music as a thing that can be owned). Despite, or due to this tension, as illegal art of traces nearly as far back as the advent of recording, and its collage goes mainstream, we find ownership of all personal expression more emergence and development mirrors the increasingly self- concentrated and removed from those who produce it than ever before. The conscious relationship of society to its experience of music. convergence of mainstream and social media platforms sidelines traditional Starting with the precedents achieved by Charles Ives and record labels and sparks new sub-genres from mashups to vaporwave, but also John Cage, VARIATIONS presents an overview of the major reinforces the perception of music as consumable entertainment. How are we landmarks in Sampling Music, following examples in being retrained to our new environment by an aesthetic that has become so twentieth century composition, folk art and commercial pervasive as to turn itself nearly invisible? Never conclude a historical narrative in present time. -
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. -
13-03-01 Full Stock List
DRONE RECORDS FULL STOCK LIST A-Z - 1. MARCH 2013 - (FALLEN) BLACK DEER Requiem (CD-EP, 2008, Latitudes GMT 0:15, €10.5) *AR (RICHARD SKELTON & AUTUMN RICHARDSON) Wolf Notes (LP, 2011, Type Records TYPE093V, €16.5) 1000SCHOEN Amish Glamour (Music for the Sixth Sense) (CD-R, 2008, Lucioleditions llns one , €9) Moune (CD, 2010, Nitkie patch four, €13) Yoshiwara (do-CD, 2011, Nitkie label patch seven, €15.5) 15 DEGREES BELOW ZERO Under a Morphine Sky (CD, 2007, Force of Nature FON07, €8) Between Checks and Artillery. Between Work and Image (10, 2007, Angle Records A.R.10.03, €10) New Travel (CD, 2007, Edgetone Records EDT4062, €13) Morphine Dawn (maxi-CD, 2004, Crunch Pod CRUNCH 32, €7) Resting on A (CD, 2009, Edgetone Records EDT4088, €13) 1 21 GRAMMS Water-Membrane (CD, 2012, Greytone grey009, €12) 23 SKIDOO The Culling is Coming (CD, 2003, LTM Publishing / Boutique BOUCD 6604, €15) Seven Songs (CD, 2008, LTM Publishing LTMCD 2528, €14.5) Seven Songs (do-LP, 2012, LTM Publishing LTMLP 2528, €29.5) 2KILOS & MORE 9,21 (mCD-R, 2006, Taalem alm 37, €5) 8floors lower (CD, 2007, Jeans Records 04, €13) 3/4HADBEENELIMINATED The Religious Experience (LP, 2007, Soleilmoon Recordings SOL 147, €25) Theology (CD, 2007, Soleilmoon Recordings SOL 148, €19.5) Oblivion (CD, 2010, Die Schachtel DSZeit11, €14) 400 LONELY THINGS same (LP, 2003, Bronsonunlimited BRO 000 LP, €12) 5F-X The Xenomorphians (CD, 2007, Hands Production D112, €15) 5IVE Hesperus (CD, 2008, Tortuga TR-037, €16) 5UU'S Crisis in Clay (CD, 1997, ReR Megacorp ReR 5uu2, €14) Hunger's Teeth -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Ambience (These are excerpts from my book "A History of Rock and Dance Music") Avantgarde world music, 1995-1999 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The technology of sampling and the broad availability of ethnic instruments turned world-music into a sort of commodity. Generally speaking, the studio became the real center of the new "high-tech" world- music. Georgia's Macha (1) penned the mostly improvised Macha (1998) and the quasi-symphonic See It Another Way (1999); while New York's Badawi, Raz Mesinai's project, fused traditional Middle-Eastern instruments, simple reggae figures and syncopated drumming at a deeper level on Jerusalem Under Fire (1997). Tuatara (1), a supergroup made of REM's Peter Buck, Screaming Trees' drummer Barrett Martin, Luna's bassist Justin Harwood and jazz saxophonist Skerik (Nalgas Sin Carne), indulged in studio magic on the all-instrumental Breaking The Ethers (1997). Michigan's Fibreforms (1) performed instrumental world-music a` la Penguin Cafe Orchestra on Treedrums (1996), but based on the haunting sound of the African bounkam. They changed their name to Kiln (1) and repeated the exploit with Holo (1998).