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Vivid Sydney Media Coverage 1 April-24 May
Vivid Sydney media coverage 1 April-24 May 24/05/2009 Festival sets the city aglow Clip Ref: 00051767088 Sunday Telegraph, 24/05/09, General News, Page 2 391 words By: None Type: News Item Photo: Yes A SPECTACLE of light, sound and creativity is about to showcase Sydney to the world. Vivid Sydney, developed by Events NSW and City of Sydney Council, starts on Tuesday when the city comes alive with the biggest international music and light extravaganza in the southern hemisphere. Keywords: Brian(1), Circular Quay(1), creative(3), Eno(2), festival(3), Fire Water(1), House(4), Light Walk(3), Luminous(2), Observatory Hill(1), Opera(4), Smart Light(1), Sydney(15), Vivid(6), vividsydney(1) Looking on the bright side Clip Ref: 00051771227 Sunday Herald Sun, 24/05/09, Escape, Page 31 419 words By: Nicky Park Type: Feature Photo: Yes As I sip on a sparkling Lindauer Bitt from New Zealand, my eyes are drawn to her cleavage. I m up on the 32nd floor of the Intercontinental in Sydney enjoying the harbour views, dominated by the sails of the Opera House. Keywords: 77 Million Paintings(1), Brian(1), Eno(5), Festival(8), House(5), Opera(5), Smart Light(1), sydney(10), Vivid(6), vividsydney(1) Glow with the flow Clip Ref: 00051766352 Sun Herald, 24/05/09, S-Diary, Page 11 54 words By: None Type: News Item Photo: Yes How many festivals does it take to change a coloured light bulb? On Tuesday night Brian Eno turns on the pretty lights for the three-week Vivic Festival. -
Fretam Inventory 030#17270D
ALKEN, Henry. Ideas, Accidental and Incidental To Hunting and Other Sports. London: Thomas M'Lean, n.d.[1826-1830]. First edition, early issue, with plates watermarked 1831-32. Upright folio. Engraved title and forty-two hand colored soft- ground etchings with interleaves. Full forest green crushed morocco for Hatchards of London (stamp-signed) by either Riviere or Sangorski and Sutcliffe (ca. 1940). Occasional mild spots to margins not affecting imagery. A neat professional repair to closed margin tear. Otherwise, a beautiful copy of the most desirable edition. DB 02149. $16,500 DJB-2 ALKEN, Henry. Scraps From the Sketch-Book of Henry Alken. Engraved by Himself. London: Thomas M'Lean, 1825. Third edition (plates still dated 1820), preceded by those of 1821 and 1823, and equally scarce. Tall octavo. Title leaf and forty- two hand-colored engraved plates, twelve with multiple images. Contemporary half crimson morocco over paper boards. Red leather title label lettered in gilt to upper board. Small bookplate to front free-endpaper. DB 01902. $2,750 DJB-2 ALKEN, Henry. Specimens of Riding Near London. Drawn from Life. London: Published by Thomas M'Lean,. Repository of Wit and Humour, No. 26, Haymarket, 1823. Second edition. Oblong folio (8 3/4 x 12 3/4 in; 222 x 323 mm). Printed title and eighteen hand-colored engraved plates. Late nineteenth century half red roan over red cloth boards, ruled in gilt. Rectangular red roan gilt lettering label, bordered in gilt on front board. Spine with two raised bands, paneled and lettered in gilt. Clean tear in the inside margin of the seventeenth plate (just touching image) expertly and almost invisibly repaired. -
Acdsee Proprint
BULK RATE U.S. POSTAGE PAID Permit N9.2419 lPE lPITClHl K.C., Mo. FREE ALL THE MUSE TI:AT FITS THE PITCH ISSUE NO. 10 JULY -AUGUST 1981 LeRoi, John CaIe, Stones, Blues, 3 Friends, Musso. Give the gift of music. OIfCharlie Parleer + PAGE 2 THE PENN:Y PITCH mJTU:li:~u-:~u"nU:lmmr;unmmmrnmmrnmmnunrnnlmnunPlIiunnunr'mlnll1urunnllmn broke. Their studio is above the Tomorrow studio. In conclusion, I l;'lish Wendy luck, because l~l~ lPIITC~1 I don't believe in legislating morals. Peace, love, dope, is from the Sex Machine a.k.a. (Dean, Dean) p.S. Put some more records in the $4.49 RELIGIOUS NAPOLEON group! 4128 BROADWAY KANSAS CITY, MISSOURI 64111 Dear Warren: (Dear Sex Machine: Titles are being added to (816) 561-1580 I recently came across something the $4.49 list each month. And at the Moon I thought you might "Religion light Madness Sale (July 17), these records is excellent stuff keeping common will be $3.99! Also, it's good to learn that people quiet." --Napoleon Bonaparte the spirit of t_he late Chet Huntley still can Editor ..............• Charles Chance, Jr. (1769-1821). Keep up the good work. cup of coffee, even one vibrated Assistant Editors ...•. Rev. Frizzell Howard Drake Jay '"lctHUO':V_L,LJLe Canyon, Texas LOVE FINDS LeROI Contributing Writers and Illustrators: (Dear Mr. Drake: I think Warren would Dear Warren: Milton Morris, Sid Musso, DaVINK, Julia join us in saying, "Religion is like This is really a letter to Donk, Richard Van Cleave, Jim poultry-- you gotta pluck it and fry it LeRoi. -
The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 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 Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality. -
New Tribal America
SENTIREASCODIGITALLTA MAGAZINE FEBBRRAIOE N. 40 WHITE HINTERLAND MAGNETIC FIELDS ATLAS SOUND FIRE ON FIRE SETOLA DI MAIALE MICHAEL roTHER GLENN GOULD THE FRENCH COWBOYS NO KIDS THAO NEW TRIBAL AMERICA DIRETTORE Edoardo Bridda 4 NEWS COOR D IN A MENTO Teresa Greco CON S ULENTI A LL A RE da ZIONE 6 TURN ON Daniele Follero WHITE INTERLAND, THE CALORIFER IS VERY HOT, THAO NGUYEN... Stefano Solventi ST A FF Gaspare Caliri Nicolas Campagnari Antonello Comunale Antonio Puglia 16 TUNE IN DEAD MEADOW HA NNO C OLL A BOR A TO Gianni Avella, Davide Brace, Marco Braggion, Gaspare Caliri, Marco Canepari, Manfredi Lamartina, Paolo Grava, Massimo Padalino, Giulio Pasquali, 20 DroP OUT Stefano Pifferi, Andrea Provinciali, Italo Rizzo, Costanza Salvi, Vincenzo Santarcangelo, Giancarlo MAGNETIC FIELDS, SETOLA DI MAIALE, NEW TRIBAL AMERICA Turra, Fabrizio Zampighi, Giuseppe Zucco GUI da S PIRITU A LE 46 RECENSIONI Adriano Trauber (1966-2004) BLACK LIPS, CASS MCCOMBS, VAMPIRE WEEKEND, BEACH HOUSE... GR A FI ca Edoardo Bridda 90 WE ARE DEMO IN C OPERTIN A Aa (Daniel Arnold) 92 REARVIEW MIrror SentireAscoltare online music magazine Registrazione Trib.BO N° 7590 del 28/10/05 MICHAEL ROTHER, DISCO NOT DISCO, CARL CRAIG, COMMON... Editore Edoardo Bridda Direttore responsabile Antonello Comunale Provider NGI S.p.A. Copyright © 2008 Edoardo Bridda. Tutti i diritti riservati.La ripro- 108 LA SERA DELLA PRIMA duzione totale o parziale, in qualsiasi forma, su qualsiasi supporto e con qualsiasi mezzo, è proibita senza autorizzazione scritta di AMERICAN GANGSTER, COUS -
6INTER-30:Maquetación 1.Qxd
6 CULTURALES JULIO 2015 > jueves 30 ENVIADA POR LA TV CUBANA CUBAVISIÓN Vida y milagros del DDT 8:00 Animados 8:30 Mr. Magoo 9:00 ¿Sabes qué? Madeleine Sautié Rodríguez medio natural, que es la sociedad, y 9:15 Todo mezclado 9:45 Aquí estoy yo (cap. 4) a la de determinar su función útil, 10:15 Juega y aprende 10:30 Lluvia de alegría Como parte del ciclo que dedica (Enrique Bergson, premio Nobel del 10:45 Chiquilladas 11:00 Ventana juvenil 11:15 La el espacio Miércoles de Sonrisas a la año 1927); y citando a H. Zumbado ronca de oro (cap. 10) 12:00 Al mediodía 1:00 No - publicación humorística DDT, su recordó que “el humor es un arma, ticiero del mediodía 2:00 Cuentos que sí son cuen- anfitriona, Laidi Fernández de Juan, porque critica y desnuda al mismo tos: Jack el caza gigantes. EE.UU./fantástico 4:00 Noticiero Ansoc 4:15 Muñe en TV 4:45 Bar quito de invitó en la más reciente edición, en tiempo, y lo hace con una sonrisa en papel 5:12 Para saber mañana 5:15 Lente joven el capitalino Centro Cultural Dulce los labios”, mientras que para Ale - 5:45 Los hombres también lloran (cap. 19) 6:30 María Loy naz, a los escritores Jorge jandro García, Virulo, “Los humo- Noticiero cultural 7:00 Mesa Redonda 8:00 NTV Tomás Tei jeiro y Félix Mondéjar, quie- ristas somos personas que decimos 8:33 Documental: Yeyé, dedicado a Haydée San - nes formaron parte por varios años las cosas en serio y los demás se tamaría 9:36 Cuando el amor no alcanza (cap. -
Sonification As a Means to Generative Music Ian Baxter
Sonification as a means to generative music By: Ian Baxter A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts & Humanities Department of Music January 2020 Abstract This thesis examines the use of sonification (the transformation of non-musical data into sound) as a means of creating generative music (algorithmic music which is evolving in real time and is of potentially infinite length). It consists of a portfolio of ten works where the possibilities of sonification as a strategy for creating generative works is examined. As well as exploring the viability of sonification as a compositional strategy toward infinite work, each work in the portfolio aims to explore the notion of how artistic coherency between data and resulting sound is achieved – rejecting the notion that sonification for artistic means leads to the arbitrary linking of data and sound. In the accompanying written commentary the definitions of sonification and generative music are considered, as both are somewhat contested terms requiring operationalisation to correctly contextualise my own work. Having arrived at these definitions each work in the portfolio is documented. For each work, the genesis of the work is considered, the technical composition and operation of the piece (a series of tutorial videos showing each work in operation supplements this section) and finally its position in the portfolio as a whole and relation to the research question is evaluated. The body of work is considered as a whole in relation to the notion of artistic coherency. This is separated into two main themes: the relationship between the underlying nature of the data and the compositional scheme and the coherency between the data and the soundworld generated by each piece. -
Informationen Als
Abbildung: „A Garland of Light II“ © Alan Jaras / Reciprocity, http://www.flickr.com/photos/alanjaras/465037590 Pressemitteilung 1. Internationales Kölner LiveLooping - Festival 31. Mai 2008 im LOFT (Köln), Eintritt 8 Euro, Einlaß 17 Uhr, Beginn 18 Uhr Kontakt und Information: Michael Peters, [email protected], Tel. 02207-912144 Was ist denn „Livelooping“? Livelooping-Musiker sind meist Solo-Musiker, die digitale Loop-Geräte (im Prinzip Echogeräte mit u.U. sehr langer Laufzeit) benutzen, um sich selbst in Echtzeit zu „multiplizieren“, d.h. die live erzeugten Klänge zu wiederholen und zu komplexen Klangschichten aufzutürmen. Das können rhythmische Gebilde sein, aber auch dichte Wolken von Ambient-Klängen. Auch ganze Songstrukturen können live mit Loops aufgebaut und dann als Grundlage für Soli benutzt werden. Der erste Livelooper (damals noch mit Hilfe von Tonbandgeräten = Tape Loops) war der amerikanische Minimalist Terry Riley, der in den späten 60ern mit seinem psychedelischen Loop- Stück „A Rainbow in Curved Air“ und nächtelangen loop-basierten „All Night Flights“ weltbekannt wurde. Später brachte der Ambient-Musik-Erfinder Brian Eno, dessen erstes Ambient-Werk "Discreet Music" mit Tape Loops realisiert wurde, dem King-Crimson-Gitarristen Robert Fripp diese Technik bei. Fripp erzeugte dann in den späten 70ern mit seiner elektrischen Gitarre und seinem „Frippertronics“- Tonbandsystem ungewöhnliche Klanggebilde und machte die Möglichkeiten des Livelooping vor allem Gitarristen bewußt, die nach neuen musikalischen Wegen suchten. Seit den 80ern kann Livelooping mit Hilfe von analogen, später digitalen Loop-Delays erzeugt werden; es gibt mittlerweile eine reichhaltige Auswahl an einfachen und komplexen Loop-Geräten sowie an Software für das Livelooping aus dem Computer. Eine wachsende weltweite Community von Loop-Musikern diskutiert seit über 10 Jahren die technischen und musikalischen Aspekte des Livelooping auf der Loopers Delight-Internet-Mailingliste, und in Amerika, Europa und Japan finden regelmäßig Festivals für Loop-basierte Musik statt. -
New Editions 2012
January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. -
Afterword: Before and After Science1
Afterword: Before and After Science1 The processes of design and construction for these houses were grounded as much in the subjectivity of art and creativity as they were in the objectivity of any ‘pure’ scientific rationality. All of the clients’ requests regarding technical and functional aspects were faithfully incorporated into the finished designs. But these requirements did not, in themselves, generate the design of any of the houses; they were simply added to the mix. Each house was based, primarily, on an architectural concept that originated from a variety of sources—overseas examples, a contemporary reworking of traditional designs or the geometry of a road. Although most of the clients were directly involved in many aspects of their design, all left the formulation of the concept entirely to their architects. This was where the binuclear plan, the one-box square plan, the building blocks, the courtyard plan and the crescent-shaped plan originated. So robust were these sketch concepts that the clients could adjust various aspects to improve functionality—internal circulation, materials and details—without destroying the integrity of the idea. While Fenner and Zwar believed that functional and environmental considerations were important, they were not the main reasons they rejected accepted architectural styles and adopted Boyd’s and Seidler’s visions of modernity. The principal reason was the aesthetic imperative: the visual appearance of modern architecture, art and design. What was important to these scientists was that their new houses incorporated forms, materials, details and equipment that represented particular physical attributes of the modern world. Whether or not these related to the functional requirements of a suburban house was often of secondary importance. -
Brian Eno: Let There Be Light Gallery
Brian Eno: Let There Be Light Gallery By Dustin Driver Brian Eno paints with light. And his paintings, like Eno’s artwork blossomed in the midst of his musical the medium, shift and dance like free‑flowing jazz career. Still, it was nearly impossible to deliver his solos or elaborate ragas. In fact, they have more in visual creations to the masses. That all changed common with live music than they do with traditional around the turn of the 21st century. “I walked past a artwork. “When I started working on visual work rather posh house in my area with a great big huge again, I actually wanted to make paintings that were screen on the wall and a dinner party going on”, he more like music”, he says. “That meant making visual says. “The screen on the wall was black because work that nonetheless changed very slowly”. Eno has nobody’s going to watch television when they’re been sculpting and bending light into living having a dinner party. Here we have this wonderful, paintings for about 25 years, rigging galleries across fantastic opportunity for having something really the globe with modified televisions, programmed beautiful going on, but instead there’s just a big projectors and three‑dimensional light sculptures. dead black hole on the wall. That was when I determined that I was somehow going to occupy that But Eno isn’t primarily known for his visual art. He’s piece of territory”. known for shattering musical conventions as the keyboardist and audio alchemist for ’70s glam rock Sowing Seeds legends Roxy Music. -
CS-Brian Eno-Eng
GALLERIA VALENTINABONOMO BRIAN ENO Light Music Opening: 20 May 2016 h.17-20 Via del portico d’Ottavia 13 Roma 00186 www.galleriabonomo.com Per informazioni: tel. 06-6832766 / [email protected] GALLERIA VALENTINABONOMO Friday, 20 May 2016 – September 2016 Press Release The Galleria Valentina Bonomo is delighted to announce the inauguration the exhibition of Brian Eno on Friday, 20 May, 2016 from 6 to 9 pm at via del Portico d’Ottavia 13. The British multi-instrumentalist, composer and producer, Brian Eno, experiments with diverse forms of expression including sculpture, painting and video. Eno is the pioneer of ambient music and generative paintings; he has created soundtracks for numerous films and composed game and atmosphere music. ‘Non-music-music’, as he himself prefers to describe it, has the capacity to be utilized in multiple mediums, intermixing with figurative art to become immersive ‘soundscapes’. By using continuously moving images on multiple monitors, Brian Eno designs endless combination games with infinite varieties of forms, lights and sounds, where not everything is as it seems, and each thing is constantly shifting and changing in a casual and inexorable way, just like in life (ex. 77 Million Paintings). “As long as the screen is considered as just a medium for film or tv, the future is exclusively reserved to an increasing level of hysteria. I am interested in breaking the rigid relationship between the audience and the video: to make it so that the first does not remain seated, but observes the screen as if it were a painting.” Brian Eno For this project, the first of its kind to be realized in a private gallery in Rome, Eno puts together two diverse bodies of work, the light boxes and the speaking flowers.