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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 I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
2006 TRASH Regionals Round 07 Tossups
2006 TRASH Regionals Round 07 Tossups 1. It appears twice in the e.e. cummings poem “little ladies more”. It also appears in the Tennessee Williams play A Streetcar Named Desire when Blanche DuBois asks it of Mitch. Seemingly awkward because of its use of the formal pronoun, it means, “Do you want to sleep with me (tonight)?” For ten points, give this phrase re-introduced to a new generation by Mya, Lil’ Kim, Pink, and Christina Aguilera in their 2001 version of “Lady Marmalade”. Answer: Voulez-vous coucher avec moi (ce soir)? 2. In Need for Speed: Most Wanted it’s called “Speed Breaker”, and is most often used to dodge roadblocks. In GUN, it’s called “Quick Draw.” The earliest example of it is probably in the 1980 Epyx game Rescue at Rigel. In Star Wars: Jedi Academy, you can get it using “Force Speed,” by killing Reborn Jedis, or typing the cheat code “there is no spoon.” For ten points, give the common name for the ability in video games to move at normal speed while the rest of the game is slowed down, most famously used in the Max Payne and, predictably, Matrix videogames. Answer: bullet time (Prompt on “slow motion” or equivalents. Note for itinerant cheaters: the cheat code is really “thereisnospoon”) 3. His favorite movie may be Divine Secrets of the Ya-Ya Sisterhood, while he cried a lot when he paid to see Godfather III. His first name may be Marion, but his full name has also been reported to be William Williams. -
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà Di Scienze Matematiche, Fisiche E Naturali Intelligent Dance Music
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Scienze Matematiche, Fisiche e Naturali Corso di Laurea in Scienze e Tecnologie della Comunicazione Musicale Intelligent Dance Music: analisi formale comparativa tramite reti di Petri Relatore Ing. Luca Andrea Ludovico Correlatore Dott. Adriano Baratè Tesi di Laurea di Elena Melcarne Matr. 678930 Anno Accademico 2007-2008 1 2 Ringraziamenti Ringrazio, prima di tutti, i miei genitori che in ogni istante hanno saputo garantirmi la fiducia ed il sostegno senza i quali non sarei arrivata fin qui. Ringrazio anche i miei fratelli, Barbara e Stefano, che mi hanno premurosamente accudito e supportato sin da piccola e, per i loro saggi consigli nei momenti più critici della mia carriera universitaria. Ringrazio il Dott. Adriano Baratè e l’Ing. Luca Andrea Ludovico per la loro disponibilità e cordialità. Un grazie particolare anche a Dario, amico caro, che non ha mancato di essermi vicino nonostanze la distanza. Infine, un grazie a Francesco per essermi sempre accanto. Per il suo grande aiuto nella stesura della tesi e soprattutto perché contribuisce, di giorno in giorno, a saziare la mia curiosità musicale. 3 Indice Premesse 1 1 Musica elettronica: dalle origini ai nostri giorni 3 1.1 Introduzione ............................................................................................ 3 1.2 Russolo e l’arte dei rumori ..................................................................... 4 1.3 Musica elettronica di matrice colta ........................................................ 7 1.3.1 Da Parigi a Colonia: Musique concrète e elektronische Musik ................................... 8 1.3.2 Il minimalismo classico ........................................................... 11 1.4 Una nuova concezione di musica elettronica ..................................... 12 1.4.1 La metamorfosi dell’elettronica ........................................... 13 1.5 Chicago e Detroit: dalla house alla techno ......................................... -
An Interview with Mike Paradinas
In Praise of Good Speakers: An Interview with Mike Paradinas Bittles‘ Magazine | Interview I first stumbled upon the twisted world of Mike Paradinas in 1994 through his remix EP of indie heroes The Auteurs. Across forty odd minutes of sonic experimentation he chewed up the original tracks and added huge layers of distortion until what remained was something of a truly mind-expanding listen. Yet just when it would seem that the tracks were too fucked up for comfort and your ears would start to complain, the music would suddenly break into a heartbreaking melody, or a moment of magnificent beauty that lifted the entire project to epic heights. By JOHN BITTLES Thus a musical love affair was born as I eagerly tracked down the albums Tango N’ Vectif and Bluff Limbo and took my first tentative steps into a world of exquisite noise. The music on these early releases was by turns angry, fearful, and wonderfully melodic. It took the blueprint of artists like Aphex Twin and B12 and filled it full of gleeful experimentation and musical contrasts. One minute you are bombarded with almost unlistenable noise, the next you are swimming in melancholic grooves. Both albums were playful slippery beasts that would sneak up behind the listener and caress with one hand while pinching roughly with the other. More releases followed. Stand outs included the Fear single on Virgin Records and albums such as Makesaracket under his Jake Slazenger alias. In 2007 he released Duntisbourne Abbots Soulmate Devastation Technique (album titles are not his strong point) which was just as difficult and obtuse as its title. -
Digital Shoegaze
SENTIREASCOLTAREDIGital MAGAZINE LUGLIO/AGosto N. 45/46 garneau°dadamatto°capillary action°ital tek°function°isengrind°el topo°feiner ITALIANS REMIX IT BETTER°DILLON°ELEFANT°FRANCESCO CUSA primavera sound°mi ami°my bloody valentine°angelica KLUSTER°MUDHONEY°KURT WEILL Pyramids*Fuck Buttons*Televise Digital Shoegaze DIRETTORE 4 NEWS Edoardo Bridda COOR D IN A MENTO Teresa Greco CON S ULENTI A LL A RE da ZIONE 6 TURN ON Daniele Follero THOMAS FUNCTION, BLACK DEVIL DISCO, ITAL TEK, CAPILLARY ACTION...... Stefano Solventi ST A FF Gaspare Caliri Nicolas Campagnari 16 TUNE IN Antonello Comunale FRANCESCO DILLON, REMIX ITALIA... Antonio Puglia HA NNO C OLL A BOR A TO Gianni Avella, Paolo Bassotti, Davide Brace, Marco 28 DroP OUT Braggion, Filippo Bordignon, Marco Canepari, Manfredi Lamartina, Gabriele Maruti, Stefano Pifferi, Andrea DIGITAL SHOEGAZE, FRANCESCO CUSA Provinciali, Costanza Salvi, Vincenzo Santarcangelo, Giancarlo Turra, Fabrizio Zampighi, Giuseppe Zucco 44 RECENSIONI GUI da S PIRITU A LE TRICKY, EL TOPO, MICAH P. HINSON,SIGUR ROS Adriano Trauber (1966-2004) GR A FI ca 96 WE ARE DEMO Nicolas Campagnari 98 REARVIEW Mirror IN C OPERTIN A KLUSTER, MUDHONEY, MOGWAI.... Pyramids SentireAscoltare online music magazine Registrazione Trib.BO N° 7590 del 28/10/05 Editore Edoardo Bridda 116 CUlt MOVIE Direttore responsabile Antonello Comunale AMERICA, AMERICA, DOVE VAI? Provider NGI S.p.A. Copyright © 2008 Edoardo Bridda. Tutti i diritti riservati.La riproduzione totale o parziale, in qualsiasi forma, su qualsiasi supporto e con qualsiasi 120 LA SERA DELLA PRIMA mezzo, è proibita senza autorizzazione scritta di SentireAscoltare IL DIVO, INDIANA JONES E IL REGNO DEL TESCHIO DI CRISTALLO 122 I COSIDDETTI CONTEMPORANEI KURT WEILL SA 3 S W Sarà pubblicato in ottobre su Kemado il film The Fountain (in Italia L’albero della For All Of Us doveva uscire il prossimo 22 sto disco costituisce un’introduzione, sarà nuovo album di Marissa Nadler. -
Radical Pay Reforms Spark Anger in University Staff
“When China awakes, she will astonish the world” Varsity takes you to the heart of the biggest, most complicated country on the planet Page 14 No. 604 The Independent Cambridge Student Newspaper since 1947 Friday October 15, 2004 Radical pay reforms spark GU in financial anger in university staff crisis Senate House debate reveals bitter opposition £4,500 missing expenses Calls for CUSU integration Sarah Marsh he Chine Mbubaegbu AFURIOUS DEBATE over Cambridge’s new pay and grading structure took place this Tuesday. At THE CAMBRIDGE University the University parliament, Senate on-Dem-Bussc Graduate Union has found itself in a House, many senior academics voiced l-V state of serious disarray after a number of fears of mass pay cuts and a devalua- key resignations. This follows several tion of junior and non-academic roles. years of financial mismanagement by t Mocke There are concerns that this will con- r past Executives, which has until now tribute to a growing divide between lbe gone unnoticed by the University. senior university management and the A This summer, a meeting of the rest of the University. Standing Advisory Committee on Vice-President of the Association Student Matters, which includes mem- of University Teachers (AUT), Dr bers of both CUSU and the Graduate Silvia Martinelli, said that this would Union (GU), found that the Union’s be the most radical and detrimental financial papers up until 2002-3 ‘pre- reform in Cambridge for a hundred sented a most unsatisfactory position.’ years. The AUT’s secretary Nick Sarah Airey, President of the GU for Savage asserted there was “A huge 2003-4, kept the Graduate Union amount of unhappiness right from afloat, whilst trying to rectify the finan- the head of the school of physical sci- cial situation. -
PARIS 2015 TERM 1 October 25 — November 6
Red Bull Music Academy Application Info PARIS 2015 TERM 1 October 25 — November 6 TERM 2 November 15 — November 27 APPLY January 21 — March 4 Go to redbullmusicacademy.com to find everything you need to apply for the Red Bull Music Academy in Paris. WHAT IS THE ACADEMY? Since 1998, the Red Bull Music Academy has exercise in pulling people from every corner devoted itself to bringing talent and ideas together of the globe together under one roof — and then in inspiring places. Each and every year, this creating a dialogue that continues long after meeting of minds sees 60 selected participants the Academy ends. collaborate and share with one another, as well as listen to the stories and sounds of pioneering What participants learn at the Academy is that, musical figures — special guest speakers whose while our languages and experiences may footsteps we continue to walk in. vary, what everyone has in common is a desire to explore music’s weird and wonderful ability At each Academy, the past and the present to communicate. You don’t need to be able to play meet to identify and explore future possibilities a dozen instruments, build a synth from scratch, in sound — in the custom-built studios working or know every lyric Björk has ever written. on new music, on the RBMA Radio airwaves, You don’t need to have released music on a label, and on the dancefloors of our month-long run or headlined a stage. But if the idea of being of club and live events in the city’s finest venues. -
Exploring Compositional Relationships Between Acousmatic Music and Electronica
Exploring compositional relationships between acousmatic music and electronica Ben Ramsay Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy De Montfort University Leicester 2 Table of Contents Abstract ................................................................................................................................. 4 Acknowledgements ............................................................................................................... 5 DVD contents ........................................................................................................................ 6 CHAPTER 1 ......................................................................................................................... 8 1.0 Introduction ................................................................................................................ 8 1.0.1 Research imperatives .......................................................................................... 11 1.0.2 High art vs. popular art ........................................................................................ 14 1.0.3 The emergence of electronica ............................................................................. 16 1.1 Literature Review ......................................................................................................... 18 1.1.1 Materials .............................................................................................................. 18 1.1.2 Spaces ................................................................................................................. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
Bios Let-It-Bleep
Infratunes présente : Let it Bleep #1 Vendredi 7 octobre & Samedi 8 octobre au Trabendo Let It Bleep #1 : Dossier de presse – http://let-it-bleep.infratunes.com Sommaire 1 ) Présentation du festival Let it Bleep 2 ) Une programmation pointue 3 ) Infos pratiques Let It Bleep #1 : Dossier de presse – http://let-it-bleep.infratunes.com 1 ) Présentation Suite aux succès remportés auprès du public lors de ses précédents concerts en région parisienne, l’équipe du webzine INFRATUNES (+ de 13000 visiteurs/jour) investit le Trabendo (sur le site de la Villette, lieu faisant autorité dans le domaine des arts numériques) pour son premier festival de musique et d’arts numériques. La programmation, confectionnée avec passion par Mr Clément Coudray (programmateur de la Guinguette Pirate et du festival Sous La Plage) et la rédaction d’INFRATUNES, se veut représentative d’une scène européenne des musiques electronica avec une forte présence de l’axe franco-britannique (les pionniers de l’electro et de l’electronica au sens large). En associant des légendes (Fennesz, Mu-Ziq, Leila, etc.), des artistes reconnus (dDamage, Luke Vibert, Apparat, etc.) et des artistes en devenir (Langage Computer, Ecoplan, etc.), INFRATUNES créé un festival dynamique et pointu à l’image de son webzine. Let It Bleep #1 : Dossier de presse – http://let-it-bleep.infratunes.com 2 ) Une programmation pointue Vendredi 7 octobre µ-Ziq (Planet Mu – UK) Avec la sortie de Tango N Vectif en 1993 sur le label Rephlex, µ-ziq marque définitivement la musique électronique d'un grand µ. Sous de multiples pseudonymes, il s'amuse à pervertir la scène post rave avec une joie communicative. -
Paul Weller Wild Wood
The Venus Trail •Flying Nun-Merge Paul Weller Wild Wood PAUL WELLER Wild Wood •Go! Discs/London-PLG FAY DRIVE LIKE JEHU Yank Crime •Cargo-Interscope FRENTE! Marvin The Album •Mammoth-Atlantic VOL. 38 NO.7 • ISSUE #378 VNIJ! P. COMBUSTIBLE EDISON MT RI Clnlr SURE THING! MESSIAH INSIDE II The Grays On Page 3 I Ah -So-Me-Chat In Reggae Route ai DON'T WANT IT. IDON'T NEED IT. BUT ICAN'T STOP MYSELF." ON TOUR VITH OEPECHE MOUE MP.'i 12 SACRAMENTO, CA MAJ 14 MOUNTAIN VIEV, CA MAI' 15 CONCORD, CA MA,' 17 LAS, VEGAS, NV MAI' 18 PHOENIX, AZ Aff.q 20 LAGUNA HILLS, CA MAI 21 SAN BERNARDINO, CA MA,' 24 SALT LAKE CITY, UT NOTHING MA,' 26 ENGLEVOOD, CO MA,' 28 DONNER SPRINGS, KS MA.,' 29 ST. LOUIS, MO MP, 31 Sa ANTONIO, TX JUNE 1HOUSTON. TX JUNE 3 DALLAS, TX JUNE 5BILOXI, MS JUNE 8CHARLOTTE, NC JUNE 9ATLANTA, GA THE DEBUT TRACK ON COLUMBIA .FROM THE ALBUM "UNGOD ." JUNE 11 TILE ,' PARX, IL PROOUCED 81.10101 FRYER. REN MANAGEMENT- SIEVE RENNIE& LARRY TOLL. COLI MI-31% t.4t.,• • e I The Grays (left to right): Jon Brion, Jason Falkner, Dan McCarroll and Buddy Judge age 3... GRAYS On The Move The two started jamming together, along with the band's third songwriter two guys who swore they'd never be in aband again, Jason Falkner and Buddy Judge and drummer Dan McCarron. The result is Ro Sham Bo Jo Brion sure looked like they were having agreat time being in the Grays (Epic), arecord full of glorious, melodic tracks that owe as much to gritty at BGB's earlier this month. -
Dancecult 8(1) Reviews
Reviews Life and Death on the New York Dance Floor 1980–1983 Tim Lawrence Durham: Duke University Press, 2016. ISBN: 978-0-8223-6202-9 RRP: US$27.95 <http://dx.doi.org/10.12801/1947-5403.2016.08.01.05> Charles de Ledesma University of East London, UK Cultural historian Tim Lawrence’s first book Love Saves the Day adopted a chronological approach to East Coast disco’s dramatic arc through the 1970s. Then his follow-up Hold On to Your Dreams widened the timeline, honing in on a valuable contributor to New York’s downtown music scene—cellist and composer Arthur Russell. While LStD ranged widely across many spaces, DJs, artists, assorted characters and issues, the Russell biography was an intimate portrait of a key player, who died from AIDS-related complications in 1992. Life and Death on the New York Dance Floor 1980–1983 (henceforth Life and Death) is the third segment in Lawrence’s New York project. Now he narrows the timeline and brings a forensic examination to just four years in the party scene. On the title, Lawrence explains, “the reference to life is intended to evoke the way that New York party culture didn’t merely survive the hyped death of disco but positively flourished in its wake”. And he clearly and convincingly argues that the short period was one characterised by a stirring artistic ferment, across music, art, dance and club space innovation. Lawrence explains: “instead of depicting the 1980–1983 period as a mere bridge that connected the big genre stories of 1970s disco and 1980s house and techno, I submitted to its kaleidoscope logic, took my foot off the historical metronome, and decided to take it—the book—to the bridge” (ix).