Hábitas Y Contra Hábitas Revox Micah P. Hinson Escribe Finisterrae En Dvd Festival Del Milenio Ron Barceló Desalia Nerd Boyfr
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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 I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
DVD Program Notes
DVD Program Notes Part One: Thor Magnusson, Alex Click Nilson is a Swedish avant McLean, Nick Collins, Curators garde codisician and code-jockey. He has explored the live coding of human performers since such Curators’ Note early self-modifiying algorithmic text pieces as An Instructional Game [Editor’s note: The curators attempted for One to Many Musicians (1975). to write their Note in a collaborative, He is now actively involved with improvisatory fashion reminiscent Testing the Oxymoronic Potency of of live coding, and have left the Language Articulation Programmes document open for further interaction (TOPLAP), after being in the right from readers. See the following URL: bar (in Hamburg) at the right time (2 https://docs.google.com/document/d/ AM, 15 February 2004). He previously 1ESzQyd9vdBuKgzdukFNhfAAnGEg curated for Leonardo Music Journal LPgLlCe Mw8zf1Uw/edit?hl=en GB and the Swedish Journal of Berlin Hot &authkey=CM7zg90L&pli=1.] Drink Outlets. Alex McLean is a researcher in the area of programming languages for Figure 1. Sam Aaron. the arts, writing his PhD within the 1. Overtone—Sam Aaron Intelligent Sound and Music Systems more effectively and efficiently. He group at Goldsmiths College, and also In this video Sam gives a fast-paced has successfully applied these ideas working within the OAK group, Uni- introduction to a number of key and techniques in both industry versity of Sheffield. He is one-third of live-programming techniques such and academia. Currently, Sam the live-coding ambient-gabba-skiffle as triggering instruments, scheduling leads Improcess, a collaborative band Slub, who have been making future events, and synthesizer design. -
Byetone Raster-Noton Alemania
SÁBADO 2 DE MAYO Aphex Twin Rephlex / Warp Records UK Aphex Twin, AFX, The Tuss, Polygon Window, Caustic Window, The Dice Man…. múltiples nombres para un sólo hombre: Richard D. James, una de las figuras más influyentes e innovadoras de los últimos 25 años. Creció en Cornwall (Inglaterra) donde ya desde muy pequeño comenzó a demostrar sus capacidades con experimentos electrónicos llegando a ganar un premio escolar por tocar una melodía con un Spectrum y un televisor alterado. En 1991 fundó Rephlex Records y lanzó su primer trabajo, se mudó a Londres y comenzó una imparable carrera ascendente publicando material bajo sus innumerables alias tanto en Warp Records como Rephlex. Desde Selected Ambient Works hasta Druqks pasando por clásicos como Ventolin, Come to Daddy o la serie Analord. Un artista excéntrico y controvertido, un personaje influyente que ha trascendido en innumerables ocasiones los límites del underground electrónico a base de trabajo y genialidades. Sus colaboraciones con el también genial Chris Cuningham nos han brindado algunos de los mejores trabajos audiovisuales hasta la fecha: Windowlicker, Come To Daddy o Rubber Johnny son algunas de las obras donde se ponen al descubierto sus locuras y cualidades. Acid, IDM, techno, ambient…. son algunos de los géneros que Aphex Twin domina a la perfección y en los que ha jugado y juega un papel fundamental como evolucionador y visionario. Rodeado por multitud de leyendas, con una perfección milimétrica en el dominio de viejos sintetizadores y la creación de nuevos sonidos y dotado de una de las mentes más inquietas y creativas que existen en la escena musical, Aphex Twin sigue creando, a día de hoy, registros en las fronteras de las normas aceptadas de la música. -
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. -
Fingernail (USA) & DJ Quesako (F) Beautiful Electronic (Pop) Music Somewhere Between Kraftwerk, Eno, Autechre and Oldschool Electro
nt/Live: Fingernail (USA) & DJ Quesako (F) Beautiful electronic (pop) music somewhere between Kraftwerk, Eno, Autechre and oldschool electro Freitag, 22.6.01, 23.00 Uhr, nt/Areal (DB-Güterbahnhofareal), Erlenstrasse 21, 4058 Basel. Zugang via Kreuzung Erlenstrasse/Mattenstrasse, Tram 1/Bus 33: Hst. Musical Theater. Ins Areal zu Fuss oder mit dem Velo. Kein direkter Zugang mit dem Auto. Vorsicht: LKW-Verkehr auf dem Areal. Das Betreten des Areals erfolgt auf eigenes Risiko. Eintritt Fr. 10.- Fingernail und Quaesako werden auf Wunsch von nt/Live nicht unabhängige Sets spielen, sondern mit einer Mischung von konservierten und live-gespielten Sounds interagieren. Kontakt: Matthias Kaeser St. Johanns-Vorstadt 64, 4056 Basel Tel. 061 381 82 37 - Email: [email protected] FINGERNAIL (Philadelphia – USA) Adam Di Angelo, a.k.a FINGERNAIL is a young American composer. He started to produce music (Electro style) since half of 90’s. His first tracks were published by little independent American labels till 1996. In 1999, one of his records came in Atomic Recording’s office and the owner of this Belgium label was so enthusiastic that he decided to ask new tracks from FINGERNAIL and a new record was published the same year. During this time, FINGERNAIL’s fist album “So Backwards” was remixed by Woodenspoon (Mark Clifford / Warp records), Flowchart (Sean Oneal & Erin Anderson / Darla records) Cathars (Ultra Vivid Scene / 4ad), Bochum Welt or Global Goon (Rephlex records). At the beginning of year 2000, when he received a new pack of tracks signed by FINGERNAIL, Marco Repetto, owner of the excellent Swiss label Inzec, was so enthusiastic that he decided to delay the outlet of his own record to publish Fingernail’s one immediately ! "A childhood in Aeden", FINGERNAIL’s new CD album was realised in April 2001 and published on the American label Doubtful records. -
Algorithmically Assisted Improvised Music
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2016 AAIM: Algorithmically Assisted Improvised Music Fay, Simon Fay, S. (2016). AAIM: Algorithmically Assisted Improvised Music (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/24629 http://hdl.handle.net/11023/3073 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY AAIM: Algorithmically Assisted Improvised Music by Simon Fay A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN COMPUTATIONAL MEDIA DESIGN CALGARY, ALBERTA June, 2016 c Simon Fay 2016 Abstract The AAIM (Algorithmically Assisted Improvised Music) performance system1 is a portfolio of interconnectable algorithmic software modules, designed to facilitate improvisation and live per- formance of electronic music. The AAIM system makes no attempt to generate new materials in one particular style, nor to act as an autonomous improviser. Instead, the goal of the AAIM sys- tem is to facilitate improvisation through the variation and manipulation of composed materials entered by the user. By generating these variations algorithmically, the system gives improvisers of computer music the ability to focus on macro elements of their performances, such as form, phrasing, texture, spatialisation, and timbre, while still enabling them to incorporate the rhythmic and melodic variations of a virtuosic instrumental improviser. -
Une Étude De L'intelligent Dance Music : Analyse Du Style Rythmique D'aphex Twin
Une étude de l’Intelligent Dance Music : analyse du style rythmique d’Aphex Twin Mémoire Anthony Papavassiliou Maîtrise en musique - musicologie Maître en musique (M.Mus.) Québec, Canada © Anthony Papavassiliou, 2014 RÉSUMÉ L‘Intelligent Dance Music (IDM) est un courant de musique électronique semi- expérimental qui a émergé au Royaume-Uni au début des années 1990. Souvent considérée comme une musique cérébrale peu propice à la danse, l‘IDM n‘avait jamais fait l‘objet de l‘étude nécessaire à la justification d‘un tel jugement. Les analyses formelles menées ici sur des œuvres représentatives d‘Aphex Twin, pionnier et figure principale du courant, montrent une démarche sophistiquée de complexification rythmique qui a pour effet de solliciter activement l‘attention de l‘auditeur. D‘une part, l‘asymétrie organisée aux différents niveaux du rythme provoque des phénomènes d‘ambigüité et de rupture sur le plan de la perception métrique. D‘autre part, l‘abondance d‘ensembles microrythmiques, parfaitement synchronisés avec la structure métrique, produit un dense et précis enrichissement du rythme opéré sous forme d‘agréments gestuels ou texturaux. Ces particularités musicales résultent d‘un lot de choix prédominants définissant le style de l‘artiste et, par la même occasion, fournissent les premiers éléments d‘une définition de l‘IDM basée sur des caractéristiques formelles. iii ABSTRACT Intelligent Dance Music (IDM) is a semi-experimental genre of electronic music that emerged in UK at the turn of the 1990s. Even though IDM has been described as a kind of cerebral music not appropriate for dancing, it has not been considered worth of musicological study until now. -
WINDOWLICKER. Der Ästhetische Paradigmenwechsel Im Musikvideo Durch Electronic Dance Music
WINDOWLICKER. Der ästhetische Paradigmenwechsel im Musikvideo durch Electronic Dance Music Dissertation zur Erlangung des akademischen Grades doctor philosophiae (Dr. phil.) Eingereicht an der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät der Humboldt- Universität zu Berlin (im Fachbereich Musik- und Medienwissenschaft) von M.A. Sabine Röthig Präsident der Humboldt-Universität zu Berlin Prof. Dr. Jan-Hendrik Olbertz Dekanin der Philosophischen Fakultät III Prof. Dr. Julia von Blumenthal 1. Gutachter: Prof. Dr. Peter Wicke, Humboldt-Universität zu Berlin 2. Gutachter: Prof. Dr. Holger Schulze, University of Copenhagen Tag der mündlichen Prüfung: 30.11.2015 Abstract Deutsch In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation -
NERO MAGAZINE Numero 4
in collaborazione con eu.levi.com/antidote PROG #01 “The Birthday Party” GIOVEDÌ 06 OTTOBRE 2005 CIRCOLO DEGLI ARTISTI VIA CASILINA VECCHIA 42 22:30 - 04:30 CHEVREUIL RUMINANCE REC. CLAUDIO ROCCHETTI HAPNA REC. WITH LOVE G.S.L. REC. (+ ANTEPRIMA VIDEO ROMA 2005 DI “A GREAT CIRCLE”, DI NICO VASCELLARI. IN COLLABORAZIONE CON MONITOR VIDEO&CONTEMPORARY ART) THE PATRIOTIC SUNDAY EFFERVESCENCE REC. ETHER PERCISTENCEBIT REC. CAROLA PISATURO DJSET TITBIT MUSIC REC. REMOTE (DVD COLLECTION DA NYC) si ringrazia per la collaborazione www.8records.net/rocket illustrazione di BLU www.blublu.org - [email protected] - www.blublu.org BLU di illustrazione 02 / MATTHEW YEE-KING 04 / NEUROTRANSMITTER 06 / BACK IN BLACK 10 / THE BIGGEST SECRET 14 / IL RITORNO DEI DISSIDENTI: LA NO WAVE 16 / FATIH AKIN 18/ UNA STORIA PUNK 21 / JOÃO ONOFRE 26 / LES RÉFLEXIONS DANGEREUSES 32 / LYNN HERSHMAN 34 / A SUMMER NOISE DREAM 36 / RECENSIONI 44 / NERO INDEX 45 / NERO TAPES NER O Neromagazine.it BIMESTRALE A DISTRIBUZIONE GRATUITA NUMERO 6 SETTEMBRE / OTTOBRE 2005 Direttore Responsabile: Giuseppe Mohrhoff Direzione Editoriale: Francesco de Figueiredo ([email protected]) Luca Lo Pinto ([email protected]) Valerio Mannucci ([email protected]) Lorenzo Micheli Gigotti ([email protected]) Staff di Redazione: Emiliano Barbieri, Rudi Borsella, Marco Cirese, Ilaria Gianni, Andrea Proia, Francesco Tatò, Francesco Ventrella Collaboratori: Gianni Avella, Marco Costa, Silvia Chiodi, Roberta Ferlicca, Francesca Izzi, Federico Narracci, Leandro Pisano, Marta Pozzoli, Francesco M. Russo, Giordano Simoncini, Davide Talia Grafica: Daniele De Santis ([email protected] Industrie Grafiche di Roma) Responsabile Illustrazioni: Carola Bonfili (carolabonfi[email protected]) Invio Materiale: Via degli Scialoja,18 - 00196 ROMA Pubblicità: [email protected] - Lorenzo Micheli Gigotti 3391453359 Distribuzione: [email protected] Editore: Produzioni NERO soc. -
Danny Avila Contrast and Tujamo *
561 DRUM & BASS SPECIAL! 27-PAGES OF JUNGLIST GOODNESS! DJMAG.COM WHALE OF A TIME MOBY’S NEW BOOK TEKLIFE LIVING & BREATHING DANCE MUSIC! CREW DJMAG.COM LIVE ON DJ RASHAD’S FOOTWORK LEGACY THE CONTINUED WIDESCREEN ELI ESCOBAR DRUM & BASS OF IN PURSUIT OF HAPPINESS * MUSIC DOWNLOAD * CLUBS CONTENT BY HIGH JEWELZ & SPARKS, * TECHNOLOGY TECHNOLOGY DANNY AVILA CONTRAST AND TUJAMO * HAS D&B COMMERCIALISATION GONE TOO FAR? SIGMA, GOLDIE, GROOVERIDER, FRICTION & MORE EXPLORE VOTE NOW! HOSPITALITY IN THE PARK UK’S FIRST D&B FEST D&B IN AMERICA — F*** YEAH! ALL THE No. 561 NOMINEES EXIT RECORDS PROFILED September 2016 TRUE TO THE CRAFT WE CZECH OUT No.561 September 2016 £4.95 LET IT ROLL & BEATS EVOLUTION £4.95 OCTAVE ONE, MACHINEDRUM, HERVÉ, THOMAS GANDEY, BLACK DEVIL DISCO CLUB, PLUS: FELIX DICKINSON, RECLOOSE, REBOOT, DE SLUWE VOS, SECRET CINEMA, SILKY… cover1.indd 1 12/08/2016 14:00 Untitled-1 1 18/07/2016 12:16 Contents Cover Shot: LARRY ROSTANT 032 WIDESCREEN DRUM & BASS High Contrast’s cinematic productions have made him the undisputed master of underground-credible yet mainstream-accessible d&b. DJ Mag heads to Cardiff to meet the man behind the music... FEATURES 038 COMMERCIAL PROPERTIES Following Sigma’s collab with Take That, we ask industry heavyweights to way up the pros and cons of commercial d&b 046 NON-CORPORATE HOSPITALITY Label heads London Elektricity and Chris Goss talk 20 years of Hospital Records 038 COMMERCIAL D&B 051 EXIT RECORDS and the UK’s fi rst ever d&b festival... 051 BOW DOWN TO THE EXIT We sit down with Exit Records boss dBridge to see why his boundary- breaking imprint stays true to the craft.. -