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Linda-Ii English.Pdf linda-i was our first incursion into the exist nowadays in Russia for experimental bilingual format, seeking to reach readers music. around the world: we had people reading us from Sweden, Thailand, Angola, Senegal, In addition to the texts by our regular Iceland, China, Japan, Ireland. That issue, authors, we have four new contributions our second compilation of articles, had written especially for this linda-ii : the one foot in Sweden, since it included an already mentioned interview by Luis Felipe interview made by Sérgio Abdalla with Labaki and another three articles by special Swedish composers Eva Sidén and Jens guests. Aline Vieira shares her experiences Hedman. in the organization of the Perturbe festival in the city of Curitiba; Daniel Puig brings us This present issue is already our third an account of his participation in JIM2014, compilation of articles published fortnightly in Bourges, France; and Marcela Lucatelli by our authors in our website, once again in writes a poetic text, bilingual, trilingual, the bilingual format (English/Portuguese), multilingual to its core, multiplying the comprising the last three months of multi-territorial intention of this publication. activities. In this anniversary month for NME (3 years!), The trimestral compilation allows new we invite you to explore with us what we connections to be established between have been calling here electroacoustic these texts originally published in different culture, by reading linda weekly, attending iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii moments. In the specific case of this issue, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii our concerts and being part of our group of iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii some thematics seem to be particularly partners. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii recurrent: the composer in face of its work, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii And, linda-ii in hands, we wish you a most iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the search for new modes of listening/ iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii pleasant reading! iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii hearing and, with a special emphasis, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the existence (or not) of venues for iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii electroacoustic and experimental music. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii This time, we have a foot in Russia, as Luis iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii LINDA iiiiiiiiiiii Felipe Labaki interviewed Alexei Borisov, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Boris Shershenkov and Marina Poleukhina Luis Felipe Labaki and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii to try to understand what kind of spaces iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Sérgio Abdalla iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii INDEX (8-12) THE SOUND OF THE (38-41) AUSCULTATE WORLD CUP Bruno Fabbrini Lilian Nakao Nakahodo All literature about electronic music must be Escaping the good manners of texts about (42-45) TRAD.LI(E)BTUM written in German. If real Philosophy can only contemporary music, this linda-ii is not be good in German, why should it be different speaking to us in Greek. It speaks about (14-16) WHY EXPERIMENTAL? Marcela Lucatelli when it comes to our Elektronische Musik? the World Cup, about Vila Madalena, about Julia Teles Even the enlightened Musique Concrète hearts, about Cage’s 4’33”and many other (let us hope the two Pierres don’t read me light thematics that end up in complex (48-51) I PAID FOR THIS LITTLE here) sounds better germanophonically, subjects with inspiring conclusions. In an (18-21) MUSIC IN THE SOUND not to mention the wonderful easy reading, it makes ordinary the exercise EXPANDED FIELD Sérgio Abdalla Acousmaticspecternoisecomputational: of thinking about sound in the world, as if Luisa Puterman way better in German. the music of noises was always there, within a hand’s reach. (52-55) PERTURB(MUT)E In that sense, this linda-ii (bilingual, by the way) is a complete failure! There’s no If I were them, I would make a version in (22-25) A PIECE WITHOUT A Aline Vieira German, no French, no preface by somebody German. COMPOSER who speaks German, but there’s a Russian Francisco de Oliveira (56-62) INVENÇÃO: S. PAULO’S story. Thank goodness. VENUE FOR THE NEW MUSIC A daily user of sound, an aural and GUI (26-29) STOCKHAUSEN Tiago de Mello (Graphical User Interface) Friendly militant, I still get shocked by this NME gang. I’ve “FESTIVAL” seen them composing in free softwares, Ivan Chiarelli (64-69) BOURGES AND theremin, making videos accompanying a synth, images following timbres, txt files JIM2014 being transformed into music (from where (30-31) LUKEWARM Daniel Puig I come from, music is wav, doc is Microsoft Natália Keri Word and mixing is done in Protools — with (70-80) FROM RUSSIA: a colorful plugin, preferably) and, if that wasn’t enough, they now have come up with (32-35) BINAURAL WALKING DOM, ESG-21, RTM this magazine thing.
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