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The Last Adventures Education Pack
THE LAST ADVENTURES EDUCATION INFORMATION PACK CONTENTS 1. Teacher’s notes and your group’s visit to the theatre 2. About the performance 3. About the company 4. Tim Etchells 5. Tarek Atoui 6. KK Null 7. Interview with Tim Etchells and Tarek Atoui 8. Further resources available 9. Credits The Last Adventures Information Pack 1 ** 1. TEACHER’S NOTES AND YOUR GROUP’S VISIT TO THE THEATRE This pack is designed to help prepare a college or university group for their visit to the theatre. We hope the information provided will enhance students’ overall critical appreciation of the production and we look forward to welcoming you to the theatre. The aims of this resource pack are: • To provide some context to the work of Forced Entertainment, especially for those who may be encountering the work for the first time; • To provide some background as to how this work in particular is placed in the company’s repertoire; • To introduce Forced Entertainment’s artistic director, Tim Etchells, and this project’s key collaborators; • To provide signposts to further resources for those wishing to engage in deeper research. You can support this through: • Engaging students in a discussion or some preliminary research about the company, prior to their visit; • Making students aware Forced Entertainment’s work is very different from ‘traditional theatre’; that it can be seen as challenging and dark as well as funny and moving; • Ensuring in their visit that students are briefed to turn their mobile phones off and that quite a high level of concentration may be required throughout the show; • Encouraging students to think about what they might ask in a post-show discussion. -
The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
Microsoft Outlook
Dave M. Peck From: Squidco <[email protected]> Sent: Thursday, September 14, 2017 10:11 AM To: Dave M. Peck Subject: SQUIDCO Email Update September 14, 2017 UPDATE September 14, 2017 We wanted to make a new art— new expressions of art— in an art world that was, for us, traditional." —Herman Nitsch Essential Labels Alga Marghen KARLRECORDS Art Yard Matchless Clang Mikroton Recordings Confront Room40 Creative Sources Someone Good / Room40 Discus Taping Policies Evil Clown Trost Records Fragment Factory Wide Hive Holidays Records Creative Artists 1 • Abecassis, Eryck / Francisco Meirino • Derek Bailey / Mick Beck / Paul Hession • Borbetomagus • Tony Buck • Deep Tide Quartet (Archer / Macari / Cole / Shaw) • The Elks (Fagaschinski/Allbee/Roisz/Zapparoli) • Georg Graewe / Mark Sanders • Haco • Junk & The Beast (Petr Vrba / Veronika Mayer) • Alice Kemp • Leap of Faith • Kurt Liedwart • Roscoe Mitchell • Dafna Naphtali / Gordon Beeferman • Hermann Nitsch • Orfeo 5 (Blezard/Bourne/Jafrate w/ Prince/Oliver/Kane) • Charlemagne Palestine • Pat Patrick And The Baritone Saxophone Retinue • Massimo Pupillo / Alexandre Babel / Caspar Brotzmann • Ernesto Rodrigues / Ulrike Brand / Olaf Rupp • Sakata / Mota / Di Domenico / Calleja • Udo Schindler • String Theory [Boston, USA] • String Theory [PORTUGAL] • Eckard Vossas 4 (Vossas / Fields / Henkel / Nabatov) • Christian Wolfarth / Jason Kahn • Christian Wolff / Eddie Prevost • Nate Wooley / Daniele Martini / Joao Lobo • Zeitkratzer / Svetlana Spajic/Dragana Tomic/Obrad Milic • Zeitkratzer + Elliott Sharp Jazz & Improvisation Bailey, Derek / Mick Beck / Paul Hession: Meanwhile, Back In Sheffield... (Discus) Free improvising guitar legend Derek Bailey was invited to perform in his home town of Sheffield, England in 2004 with the trio of Mick Beck on tenor sax, bassoon, and whistles, and Paul Hession on drums, Bailey's first visit in many years, and a joyful occasion as the collective group explores a wide range of approaches to creating instant compositions. -
Immersion Into Noise
Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
WE COULD GIVE Program
Target Margin Theater 232 52nd Street Brooklyn, NY 11220 718-398-3095 Targetmargin.org @targetmargin Founding Artistic Director: David Herskovits Associate Artistic Director: Moe Yousuf General Manager: Liz English Space Manager: Kelly Lamanna Arts Management Fellow: Frank Nicholas Poon Box Office Manager: Lorna I. Pérez Financial Consultants: Michael Levinton, Patty Taylor Graphic Designer: Maggie Hoffman Interns: Sarah McEneaney, Matt Hunter Press Representation: John Wyszniewski/Everyman Agency BOARD OF DIRECTORS NEWS OF THE Hilary Alger, Matt Boyer, David Herskovits, Dana Kirchman, Kate Levin, Matt McFarlane, Jennifer Nadeau, Adam Weinstein, Amy Wilson. STRANGE LAB ABOUT US Target Margin is an OBIE Award-winning theater company that creates innovative productions of classic plays, and new plays inspired by history, literature, and other art forms. In our new home in Sunset Park we energetically expand the possibilities of live performance, and engage our community at all levels through partnerships and programs. TMT PROGRAMS INSTITUTE The Institute is a year-long fellowship (January – December) that provides five diverse artists space, support and a $1,000 stipend to challenge themselves and their art-making practice. 2019 Fellows: Sarah Dahnke, Mashuq Mushtaq Deen, Yoni Oppenheim, Gabrielle Revlock, and Sarah K. Williams. ARTISTS-IN-RESIDENCE The Artist Residency Program provides established, mid-career and emerging artists up to 100 hours of dedicated rehearsal and developmental space. Each residency is shaped to meet the specific needs of each artist and will include a work-in-progress free to the public. 2019 Artists-in-Residence: Tanisha Christie, Jesse Freedman, Sugar Vendil, Deepali Gupta, Sarah Hughes, and Chana Porter. SPACE RENTALS THE DOXSEE THEATER Our SPACE program provides long term / short term studio nd space for all artists to gather and engage in their creative / 232 52 Street, BK 11220 cultural practices. -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
Cs Inlandempire
presenta INLANDEMPIRE #11 MY CAT IS AN ALIEN "I fratelli italiani MY CAT IS AN ALIEN sono la miglior band venuta fuori dall'Italia dalla fine della Grande Guerra" Thurston Moore / Sonic Youth (Arthur Magazine / USA) Venerdì 21 OTTOBRE a partire dalle 22.30 c/o Spazio Concept, Via Forcella 7/13 Milano Dopo il loro ultimo avvistamento sulla copertina di settembre di The Wire - rivista inglese di musica d’avanguardia fondata nel 1982 ( www.thewire.co.uk ) - My Cat Is An Alien, uno dei gruppi più prolifici della scena musicale italiana - al loro attivo hanno una discografia di più di cento titoli – saranno i protagonisti assoluti di iNLANDEMPIRE#11, venerdì 21 ottobre alle 22.30, presso Spazio Concept, Via Forcella 7/13 Milano. Nati nel 1997 dai fratelli torinesi Maurizio e Roberto Opalio, i My Cat Is An Alien, si sono immediatamente contraddistinti nello scenario musicale internazionale: Maurizio registra a casa il primo lavoro a nome MCIAA e in segno di ammirazione lo invia ai Sonic Youth; a distanza di pochissimo tempo la band newyorkese, entusiasta del lavoro artistico, gli comunica la loro volontà di farlo esibire come supporter nel tour italiano dell’estate ’98. Da quel momento il progetto verrà gestito al cinquanta per cento da entrambi i fratelli. Un mondo da scoprire o da gustare, per chi già li conosce, nella multiforme location di Via Forcella per una data milanese all’insegna di composizioni istantanee dalla forza inarrestabile e performance visuali sciamaniche che spalancheranno le porte non solo di un universo "altro" in termini spaziali, bensì di una nuova concezione del sentire, tutto questo grazie al duo My Cat Is An Alien. -
Guru Guru Dance of the Flames Mp3, Flac, Wma
Guru Guru Dance Of The Flames mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Dance Of The Flames Country: Russia Released: 2014 Style: Space Rock, Experimental MP3 version RAR size: 1181 mb FLAC version RAR size: 1493 mb WMA version RAR size: 1780 mb Rating: 4.1 Votes: 530 Other Formats: AAC MP1 MPC AC3 VOC DTS AAC Tracklist Hide Credits Dagobert Duck's 100th Birthday 1 7:41 Music By – H. Hartmann*, H. Nejadepour*, M. Neumeier*Words By – M. Neumeier* The Girl From Hirschhorn 2 8:38 Music By – H. Hartmann*, H. Nejadepour*, M. Neumeier*Words By – M. Neumeier* The Day Of Timestop 3 5:25 Music By – H. Nejadepour* Dance Of The Flames 4 3:31 Music By – H. Hartmann*, H. Nejadepour*, M. Neumeier* Samba Das Rosas 5 4:08 Music By, Vocals – H. Nejadepour* Rallulli 6 4:38 Music By – H. Hartmann*, H. Nejadepour*, M. Neumeier* At The Juncture Of Light And Dark 7 3:14 Music By – H. Nejadepour* God's Endless Love For Men 8 7:27 Music By – H. Nejadepour* Doing (Live 1975) 9 7:23 Music By – H. Hartmann*, M. Neumeier* Credits Bass Guitar, Contrabass – Hans Hartmann Coordinator [Re-release Coordination] – Michael Schmitz Drums, Percussion, Vocals – Mani Neumeier Electric Guitar, Acoustic Guitar – Houschäng Nejadépour Engineer – David Siddle* Layout [Re-release Layout] – Thomas Ewerhard Liner Notes – Matthias Mineur Liner Notes [Translation] – Markus Schurr, Matt Goodluck Other [Re-release Assistant] – Björn Münz Photography By – Tai Lüdicke* Producer – Guru Guru Remastered By – Eroc Technician [Assistant Engineer] – Günter Theis, Uwe Schier Notes Original album recorded at Studio 70, Munich, April 12 to 20, 1974. -
Kapotte Muziek - an Apology Is Necessary
Kapotte Muziek - An Apology Is Necessary - 1. Noiseperformance 2. Treatment 3. The Karnage 4. Ha Heizel 5. Stag/nation 6. Guns For Sale 7. Karnage Of The Voice 8. Rock N Roll Part 1 9. Death Is No Life To Come 10. raw sounds #1* 11. Sounds From Unknown Source 12. raw sounds #2* 13. Soundwave 2 14. raw sounds #3* 15. Aircraft 16. raw sounds #4* 17. I Am The Way, The Truth And The Life An Apology Is Necessary. 18. raw sounds #5* 19. Untitled Yes it is. You are about to hear and view material that was 20. raw sounds #6* released by Kapotte Muziek in 1988. It was an anthology of 21. Untitled works from the first three and half years of existence. A 22. raw sounds #7* lifetime it seemed back then, a mere drop in time when I look back on it now. I compiled this tape in 1988 for the US *these short interludes separated the branche of my label Korm Plastics, run by Jeff Surak, who tracks on side b of the original was the driving force behind Destruktive Technologies cassette release. Foundation.I went back to the archives of Kapotte Muziek and dug out some of the original artwork produced for some of these tracks. In those days your compilation cassette was Extras: not complete with a black and white xeroxed booklet. I either had some drawing or some text or some image. I also Phallophories Vol. 3 produced some postcards and in my naïve youth I used skulls Postcard from 1985 and pictures of naked women: things I wouldn't do now, or in Postcard from 1986 a more thought-out context at least. -
Krautrock and the West German Counterculture
“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre. -
Jason Kahn “Voice Crack's Art and Music” Taken from the Original Text “Norbert Möslang: Cracked Everyday” Excerpt from the Book “Ear Lights, Eye Sounds
Jason Kahn “Voice Crack's Art and Music” taken from the original text “Norbert Möslang: Cracked Everyday” excerpt from the book “Ear Lights, Eye Sounds. Expanded Cracked Everyday Electronics" With text by: Álex Gámez, Andres Bosshard, Charlotte Hug, Christian Pauli, Cornelia Spillmann,Dr. Mark Staff Brandl, eRikm, Franziska Kohler, Gieri Battaglia, H. R. Fricker, Ish Shehrawat (Ish S), Jasch (Jan Schacher), Jason Kahn, Johannes Anders, John Corbett, Katharina Stoll-Cavelti, Konrad Bitterli,Mario Gabola, Markus Detmer, Mike Bullock, Nicolas Collins, Nora Hauswirth, Peter Hubacher, Peter Kraut,Pius Tschumi, Ralph Hug, Richard Butz, Richard Jean, Salome Schmuki, Stefanie Kasper, Timo Reuber, Yan Jun Edizioni Periferia 2014 Voice Crack 1984 saw the release of “Voice Crack” and the first instance of “cracked everyday electronics” explicitly stated as the duo's choice of instrumentation. Starting with a lone static pop sounding like a pistol going off in some abandoned warehouse, “Voice Crack” blurs the lines between room installation and concert. Recorded on March 23rd, 1984 at the Gallery Corinne Hummel, Basel, this record documents the duo's first performance with “cracked everyday electronics” and evokes at times a version of David Tudor's “Rainforest” gone terribly awry. Although recorded in a concert setting, the intent of the performance resembles more the installation “Lokalstradio” in that a system of interacting objects and fields of interfering magnetic and infrared vibrations gets initiated, only to be abandoned to generate itself in ever-varying patterns. At some point the duo leave the performance area and let their instruments run themselves. “Voice Crack” sounds very much like an old factory slowly taking itself apart, with components falling away, fuses shorting out, random sputtering hums and static, the sound of an electro-mechanical entity slowly fading into rubble and dust.