Festival Overview / Awards Installations, Workshops and Masterclasses Will Be Organized in Several Evocative Venues Like the Ancient Hypogea of Casa Cava
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Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
Easter Eggs: Hidden Tracks and Messages in Musical Mediums
Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece Easter Eggs: Hidden Tracks and Messages in Musical Mediums Jonathan Weinel, Darryl Griffiths and Stuart Cunningham Creative & Applied Research for the Digital Society (CARDS) Glyndŵr University Plas Coch Campus, Mold Road, Wrexham, LL11 2AW, Wales +44 1978 293070 {j.weinel | Griffiths.d | s.cunningham}@glyndwr.ac.uk ABSTRACT the programmers’ office, in the style of the video game Doom [2]. The hidden game features credits and digital ‘Easter eggs’ are hidden components that can be found in images of the programmers. It is accessed by carrying computer software and various other media including out a particular series of actions on the 95th row of a music. In this paper the concept is explained, and various blank spreadsheet upon opening Excel. examples are discussed from a variety of mediums in- cluding analogue and digital audio formats. Through this discussion, the purpose of including easter eggs in musi- cal mediums is considered. We propose that easter eggs can serve to provide comic amusement within a work, but can also serve to support the artistic message of the art- work. Concealing easter eggs in music is partly depend- ent on the properties of the chosen medium; vinyl records Figure 1. Screenshots from the ‘hall of tortured souls’, in Mi- may use techniques such as double grooves, while digital crosoft Excel 95. formats such as CD may feature hidden tracks that follow long periods of empty space. Approaches such as these This paper will consider the purpose and realisation of and others are discussed. -
Press Release | May 30, 2016 the Hague, NL
Press release | May 30, 2016 The Hague, NL International Festival for digital and transdisciplinary art and creativity 12th Edition September 22nd 25th, 2016 TodaysArt 2016 announces the first wave of artists for it’s 12th edition. Pantha du Prince, Nosaj Thing & Daito Manabe, Hiroaki Umeda and NONOTAK will headline this year’s festival with Dutch premières. TodaysArt is pleased to collaborate with a.o. SHAPE, We are Europe, Lisson Gallery and The Creators Project. TodaysArt, the roving festival for digital and transdisciplinary art and creativity, returns to the city center of The Hague. The previous two editions of TodaysArt were based in Scheveningen, the coastal capital of The Netherlands, which emphasized visual art on and around The Pier. This year’s festival will take place from September 22nd to the 25th of September. Once again it will turn it’s focus on the performing art. The opening statement of this year’s festival is a new Drone Shadow of the English artist, James Bridle. An essential question of this year festival is ‘Who owns the city’. With Drone Shadow, TodaysArt asks this question as it relates to the public sphere of the city’s town square. 'Drone Shadow is not just a picture of a drone. It is a diagram of a political system. Drones are also avatars of all of the invisible networked systems that surround us on a daily basis. They stand in for every remote connection we make. Like the internet, they allow us to see and act at a distance but they may also be used against us and others. -
Artificial Intelligence, Ovvero Suonare Il Corpo Della Macchina O Farsi Suonare? La Costruzione Dell’Identità Audiovisiva Della Warp Records
Philomusica on-line 13/2 (2014) Artificial Intelligence, ovvero suonare il corpo della macchina o farsi suonare? La costruzione dell’identità audiovisiva della Warp Records Alessandro Bratus Dipartimento di Musicologia e Beni Culturali Università di Pavia [email protected] § A partire dai tardi anni Ottanta la § Starting from the late 1980s Warp Records di Sheffield (e in seguito Sheffield (then London) based Warp Londra) ha avuto un ruolo propulsivo Records pushed forward the extent nel mutamento della musica elettronica and scope of electronic dance music popular come genere di musica che well beyond its exclusive focus on fun non si limita all’accompagna-mento del and physical enjoinment. One of the ballo e delle occasioni sociali a esso key factors in the success of the label correlate. Uno dei fattori chiave nel was the creative use of the artistic successo dell’etichetta è stato l’uso possibilities provided by technology, creativo delle possibilità artistiche which fostered the birth of a di- offerte dalla tecnologia, favorendo la stinctive audiovisual identity. In this formazione di un’identità ben ca- respect a crucial role was played by ratterizzata, in primo luogo dal punto the increasing blurred boundaries di vista audiovisivo. Sotto questo profilo between video and audio data, su- un ruolo fondamentale ha giocato la bjected to shared processes of digital possibilità di transcodifica tra dati transformation, transcoding, elabora- audio e video nell’era digitale, poten- tion and manipulation. zialmente soggetti agli stessi processi di Although Warp Records repeatedly trasformazione, elaborazione e mani- resisted the attempts to frame its polazione. artistic project within predictable Nonostante la Warp Records abbia lines, its production –especially mu- ripetutamente resistito a ogni tentativo sic videos and compilations– suggests di inquadrare il proprio progetto arti- the retrospective construction of a stico entro coordinate prevedibili, i suoi consistent imagery. -
Label ARTIST Piece Tracks/Notes Format Quantity
Label ARTIST Piece Tracks/notes Format Quantity Sire Against Me! 2 song 7" single I Was A Teenage Anarchist (acoustic) 7" vinyl 2500 Sub-pop Album Leaf There Is a Wind Featuring 2 new tracks, 2 alternate takes 12" vinyl 1000 on songs from "A Chorus of Storytellers" LP Righteous Babe Ani DiFranco live @ Bull Moose recorded live on Record Store Day at CD Bull Moose in Maine Rough Trade Arthur Russell Calling Out of Context 12 new tracks Double 12" set 2000 Rocket Science Asteroids Galaxy Tour Fun Ltd edition vinyl of album with bonus 12" 250 track "Attack of the Ghost Riders" Hopeless Avenged Sevenfold Unholy Confessions picture disc includes tracks (Eternal 12" vinyl 2000 Rest, Eternal Rest (live), Unholy Confessions Artist First/Shangri- Band of Skulls Live at Fingerprints Live EP recorded at record store CD 2000 la 12/15/2009 Fingerprints Sub-pop Beach House Zebra 2 new tracks and 2 alternate from album 12" vinyl 1500 "Teen Dream" Beastie Boys white label 12" super surprise 12" vinyl 1000 Nonesuch Black Keys Tighten Up/Howlin' For 12" vinyl contains two new songs 45 RPM 12" Single 50000 You Vinyl Eagle Rock Black Label Society Skullage Double LP look at the history of Zakk Double LP 180 Wylde and Black Label Society Gram GREEN vinyl Graveface Black Moth Super Eating Us extremely limited foil pressed double LP double LP Rainbow Jagjaguwar Bon Iver/Peter Gabriel "Come Talk To Bon Iver and Peter Gabriel cover each 7" vinyl 2000 Me"/"Flume" other. Bon Iver track is EXCLUSIVE to this release Ninja Tune Bonobo featuring "Eyes -
Az EU Versenyszabályainak Hatása a Közszolgálati Műsorszolgáltatók Helyzetére
Tartalomjegyzék 1. FEJEZET 8 ELŐSZÓ 8 2. FEJEZET 9 BEVEZETÉS 9 2.1 A kutatás módszere 9 2.2 A dolgozat felépítése 11 2.3 Háttér 11 2..4 Az EBU áttekintése 16 2.5 A közszolgálatiság EBU által elfogadott definíciója 19 2.6 A definíció kritikája 23 2.7. A közszolgálati műsorszolgáltatók finanszírozása 24 3. FEJEZET 30 AZ EU VERSENYSZABÁLYAI 30 4. FEJEZET 38 PANASZOK ÉS HIVATKOZÁSAIK 38 5. FEJEZET 39 AZ EU NAPIRENDJÉN SZEREPLŐ, KÖZSZOLGÁLATI MŰSORSZOLGÁLTATÁS FINANSZÍROZÁSÁT ÉRINTŐ TÉMÁK 39 5.1 Az Amszterdami Jegyzőkönyv - 40 5.2 Vitairat a közszolgálati műsorszolgáltatók finanszírozásáról 43 5.3 Transzparencia: A tagállamok és a közvállalatok pénzügyi kapcsolatairól szóló EK Direktíva felülvizsgálata 46 6. FEJEZET 49 KÖZSZOLGÁLATI MŰSORSZOLGÁLTATÓK FINANSZÍROZÁSI RENDSZERÉT KIFOGÁSOLÓ PANASZOK 49 6.1 SPANYOLORSZÁG 51 6.2 PORTUGÁLIA 59 6.3 FRANCIAORSZÁG 74 6.4 OLASZORSZÁG 88 6.5 GÖRÖGORSZÁG 97 6.6 ÍRORSZÁG 105 6.7 NÉMETORSZÁG 107 6.8 EGYESÜLT KIRÁLYSÁG 116 7. FEJEZET 123 AZ ELJÁRÁSOK ÖSSZEFOGLALÁSA, KÖVETKEZTETÉSEK 123 7.1 Az eljárások 123 7.2 Következtetések 126 8. FEJEZET 132 A TELEVÍZIÓS SPORTKÖZVETÍTÉSEKKEL KAPCSOLATOS DOKUMENUMOK AZ EU-BAN - 132 A HATÁROK NÉLKÜLI TELEVÍZIÓ DIREKTÍVA MÓDOSÍTÁSA 132 9. FEJEZET AZ EU VERSENYSZABÁLYAINAK ALKALMAZÁSA AZ EUROVÍZIÓS RENDSZERRE 135 9.1 Az EBU Eurovíziós rendszere 135 9.2 A versenyszabályok alkalmazása az Eurovíziós rendszerre 136 10. FEJEZET 157 KÖVETKEZTETÉSEK 157 11. FEJEZET 160 ZÁRSZÓ 160 KÖSZÖNETNYILVÁNÍTÁSOK 161 MELLÉKLETEK 162 FELHASZNÁLT IRODALOM 1. fejezet Előszó Európában a televíziózás "ancien régime"-je a 80-as években zárult le: a közszolgálat monopóliumát megtörte az új környezet kereskedelmi- és versenylogikája. A megváltozott politikai, gazdasági, társadalmi, jogi és műszaki körülmények között a közszolgálati műsorszolgáltatás legitimációs válságot él át, bár a 90-es évekre talán "lassul az ingalengés" 1 (Rowland, Jr -Tracey [1990] p. -
Final Report
Project no. 215143 SCVP Smartest Cars Video Project Deliverable D0.1 Final Report Version: 1.7 Dissemination Level: Public Lead contractor for deliverable: H3B Media Ltd. Due date of deliverable: 30.06.2010 Actual submission date: 24.01.2011 Start date of project: 01.01.2008 Duration: 36 months Seventh Framework Programme Theme ICT-1-6.1 Intelligent vehicles and mobility services Support Action (SA) SCVP 24.01.2011 Authors Richard Bishop, H3B Media Project Co-ordinator Mr. Luis Hill H3B Media Ltd phone +44 280 254 9406 e-mail [email protected] Partners H3B Media Ltd. Ian Catling Consultancy Copyright: SCVP Consortium 2008 Copyright on template: Irion Management Consulting GmbH 2008 Deliverable D01 1.7 ii SCVP 24.01.2011 Revision chart and history log Version Date Reason 1.0 06-24-10 First Draft (Bishop) 1.1 29-06-10 Comments / modifications (Hayward) 1.2 29-06-10 Bishop revisions based on Hayward 1.3 01-07-10 Bishop further revisions 1.4 01-07-10 Hayward further additions 1.5 14-07-10 Incorporation of RB comments 1.6 30-12-10 Update by Richard Bishop 1.7 24-01-11 Final check and additions M.Hayward Deliverable D01 1.7 iii SCVP 24.01.2011 Table of Contents Authors ...............................................................................................................................ii Project Co-ordinator............................................................................................................ii Partners ..............................................................................................................................ii -
A Study of Microtones in Pop Music
University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion. -
Virtueel Platform Mapping
VIRTUEEL "OUR PUBLIC IS ABSOLUTELY NOT ELITIST. THE PEO- PLE WHO KNOW PLATFORM THE LEAST ABOUT MEDIA ART ARE OFTEN THE MOST MAPPING SURPRISED." LUCAS VAN DER VELDEN 2 5 "IF WE PRE- SENT AN EX- PERIMENT LIKE THIS AT THE FESTIVAL IT GETS SEEN BY THOUSANDS OF PEOPLE. FRENS FRIJNS 3 THE CHANGING ROLE OF MEDIA FESTIVALS IN THE NETHERLANDS IN THE NETHERLANDS A CONVERSATION Hiroaki Umeda WITH FOUR FESTIVAL DIRECTORS 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 50 46 46 PLAYGROUND URBAN FESTIVAL EXPLORERS 56 62 50 46 GLOW - FORUM OF LIGHT IN ART AND ARCHITECTURE 64 63 62 61 60 59 58 57 56 55 54 53 52 51 50 49 VIRTUEEL PLATFORM MAPPING PLAYGROUND FESTIVAL DISTRIBUTION OF MEDIA FESTIVALS IN THE NETHERLANDS www.virtueelplatform.nl/mapping-mediafestivals FOREWORD 1 A radical change is taking place among media festivals in the Netherlands. Many medium-sized towns now have their own media festivals. The striking thing is that these festivals are found across the country and not just in the urban Randstand conglomeration of Amsterdam, Rotterdam and The Hague. Some of the festivals have been going for more than ten years (Impakt in Utrecht, DEAF in Rotterdam) others have developed in the last few years (STRP in Eindhoven, Gogbot in Enschede) and there are new additions (Fiber in Amsterdam, Oddstream in Nijmegen). Besides being a national phenomenon, these media festivals are now assuming roles previously played by museums and galleries, namely, that of curator, agent, and commissioner. Virtueel Platform has compiled this publication to map this growing phenomenon better. -
Fireworks of Music in Malta
MAY No 5 (13) 2018 New stars: Malta International Piano Competition 2018 Armenian Cultural Days fireworks MIMF of music 2018: in Malta CONTENTS MIMF — 2018 A new circle VI Malta International of the “culture circulation”… ................... 48 Music Festival in all dimensions ................ 4 The way youngsters do ............................ 50 What people say about the VI Malta International Music Festival ......... 5 Ephemerides and other ephemeral bodies ........................... 52 New stars: Malta International ......................... Piano Competition 2018 ........................... 10 Bravo, maestro Accardo! 54 Tchaikovsky, Elgar, Shor PERSON Alexey Shor: and Chagall for the unenl ightened “I liked the energy and the most sophisticated... .................. 56 of Armenian audience” ............................. 12 Captivating reading of sound .................. 58 Alexander Sokolov: “ The main criterion for a member ARMENIAN DAYS IN MALTA Unforgettable Armenian of the jury is whether you want to listen Cultural Days in sunny Malta .................... 60 to this composer again” ........................... 14 “We managed to find a common Carmine Lauri: language very quickly, and “Give me a tune and I am happy!” ............. 16 we worked together easily” .................... 63 Krzysztof Penderecki: “Maestro Sergey Smbatyan Anna Ter-Hovakimyan: Critics and musicologists keeps surprising me with his talent” ....... 20 hail performance of Symphony Georges Pélétsis: Orchestra in Malta .................................... 64 -
Seznam Příloh
[98] Seznam příloh Příloha č. 1: Evropská komise: Sdělení Komise o použití pravidel státní podpory na veřejnoprávní vysílání Příloha č. 2: Evropský parlament: Usnesení Evropského parlamentu ze dne 25. listopadu 2010 o veřejnoprávním vysílání v digitální době: Budouc- nost duálního systému Příloha č. 3: Council of Europe: Recommendation CM/Rec(2007)3 of the Commit- tee of Ministers to Member States on the Remit of Public Service Media in the Information Society Příloha č. 4: European Broadcasting Union: Empowering Society: A Declaration on the Core Values of Public Service Media 27.10.2009 CS Úřední věstník Evropské unie C 257/1 II (Sdělení) SDĚLENÍ ORGÁNŮ A INSTITUCÍ EVROPSKÉ UNIE KOMISE Sdělení Komise o použití pravidel státní podpory na veřejnoprávní vysílání (Text s významem pro EHP) (2009/C 257/01) 1. ÚVOD A OBLAST PŮSOBNOSTI SDĚLENÍ upozornili soukromí provozovatelé. Stížnosti se týkaly porušování článků 86 a 87 Smlouvy o ES, pokud jde 1. Během posledních tří desetiletí prošlo vysílání důležitými o veřejné financování veřejnoprávních vysílacích organi změnami. Odstranění monopolů, vznik nových provozo zací. vatelů a rychlý technologický rozvoj podstatně změnily soutěžní prostředí. Televizní vysílání bylo tradičně vyhra zenou činností. Od počátku bylo většinou provozováno veřejnými podniky s dominantním postavením, zejména v důsledku omezené dostupnosti vysílacích frekvencí a velkých překážek pro vstup. 4. Sdělení Komise z roku 2001 o použití pravidel státní podpory na veřejnoprávní vysílání ( 1) poprvé stanovilo rámec, který upravuje státní financování veřejnoprávního vysílání. Sdělení z roku 2001 Komisi sloužilo jako dobrý základ pro rozvoj důležité rozhodovací praxe v této oblasti. Od roku 2001 bylo přijato více než dvacet 2. -
Tribune Internationale Des Compositeurs 2009
Paris, 12.VI.2009 TRIBUNE INTERNATIONALE DES COMPOSITEURS 2009 2009 INTERNATIONAL ROSTRUM OF COMPOSERS Paris, 8 – 12 VI 2009 LISTE FINALE DES PARTICIPANTS / FINAL LIST OF PARTICIPANTS Président / Chairman : Heikki Valsta (Finlande/Finland) PAYS/ ORGANISME DE RADIODIFFUSION/ DELEGUE(S)/ COUNTRY BROADCASTING ORGANISATION DELEGATE(S) ALLEMAGNE/ Rundfunk Berlin-Brandenburg (sans délégué) GERMANY Deutschlandradio Kultur Rainer PÖLLMANN ARGENTINE/ Radio Universidad Nacional LM María Vanesa RUFFA ARGENTINA AUSTRALIE/ Australian Broadcasting Corporation Duncan YARDLEY AUSTRALIA AUTRICHE/ ORF Austrian Broadcasting Corporation Ursula STRUBINSKY AUSTRIA BRESIL/BRASIL Radio MEC sans délégué/ Without delegate BULGARIE/ Bulgarian National Radio Maria Vassileva POPOVA BULGARIA CANADA Canadian Broadcasting Corporation/ Sans délégué/ Société Radio-Canada Without delegate DANEMARK/ DR- Danish Broadcasting Corporation Max FAGE-PEDERSEN DENMARK ESPAGNE/ Radio Nacional de España Ana Vega TOSCANO SPAIN ESTONIE/ Estonian Public Broadcasting Tiia TEDER ESTONIA FINLANDE/ Finnish Broadcasting Co. Karoliina VESA FINLAND FRANCE Radio France Jurjen SOETING CHINE/HONG KONG SAR/ Radio Television Hong Kong (RTHK) Man-Ngai TANG CHINA/HONG KONG SAR IRLANDE/ RTÉ Lyric fm Eoin O KELLY IRELAND ISLANDE/ Icelandic National Broadcasting Bergljót HARALDSDÓTTIR ICELAND Service (RUV) LITUANIE/ Lithuanian Radio Jurate KATINAITE LITHUANIA MEXIQUE/ Radio UNAM Alejandro CASTAÑOS MEXICO NORVEGE/ Norwegian Broadcasting Organization Håkon HEGGSTAD NORWAY NOUVELLE ZELANDE/ Radio New Zealand