Re: [microsound] What other electronic musicrelated mailing lists is everybody on?

From Malte Steiner
Sent Sat, Apr 30th 2005, 17:37

I am on way to much mailinglists but information is the key.
When I look on it, it tends more to be technical rather then genre 
orientated, because I don't like the idea to be locked in one genre, I 
am my own genre :)

Analogue Heaven on hyperreal
provides lot of information on recent and past analog (and VA) gear but 
tends to be a bit strict and conservative. ProgRock bands seems to be 
the heros which is an horror for me.

There is a counterpart, Digital Hell but very low traffic.

Of interest are the Max/MSP, PD and Csound lists, if you use these 
software, more general is the dsp list 
(http://shoko.calarts.edu/musicdsp) which gives some sound synthesis 
inspiration even if you not a programmer.

Cheers,

Malte
-- 
Malte Steiner
media art + development
-www.block4.com-

Konform live 21.may ZMF Berlin, Germany
New release:
Notstandskomitee track for compilation 12" 'world of disorder' on
http://www.disorder-records.de
more at blog 4, also available as rss feed:
http://java.block4.com/blog4/

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From ???@??? Sat Apr 30 14:20:21 2005
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From: rafael flores <xxxxxxxxxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] What other electronic musicrelated mailing lists is
 everybody on?
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www.modisti.com



______________________________________
rafael flores :.
apartado 163
23740 andujar :. spain
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www.soundsense.blogspot.com
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>From: Sim <xxxxx.xxx.xxxxxxxx@xxxxx.xxx>
>Reply-To: Sim <xxxxx.xxx.xxxxxxxx@xxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: [microsound] What other electronic musicrelated mailing lists is 
>everybody on?
>Date: Thu, 28 Apr 2005 12:07:47 -0700
>
>Title says it all.
>
>Seems to me there is a bunch of people here who are pretty eager to
>know stuff about electronic/computer music. I am currently enrolled on
>3 hypperreal mailinglists: gabber idm and this one. I noticed some ppl
>from this list are also on the idm one so i figured they might even
>dwell on more. Good forumlocations are also welcome altough i must say
>i like mailinglists better.
>
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From ???@??? Sat Apr 30 11:37:49 2005
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Date: Sat, 30 Apr 2005 21:37:44 +1000 (EST)
From: Matthew Oshannessy <xxxxxxx_xxxxxxxxxx@xxxxx.xxx.xx>
Subject: [microsound] for trade
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the following items are available for trade:   

 

m. o’shannessy/e. sprod – (untitled) 3” cd-r 

duration: 16:31

 

eamon (aka tarab, objects) and i (mouth/electronics) strapped on our contact microphones and spent several sunday afternoons in early 2004 channelling prickly static through cheap equipment into rmit studio. the results were condensed into two tracks: one edited by eamon, the other by me. this is weird stuff—an imaginary landscape constructed from insect frequencies, tiny dribbles of moisture, exposed nerves, crystalline growths and disabled electronics.

 

m. o’shannessy – out of this life dvd-r

(2004)

duration: 6:09

 

my second go at film making, out of this life is a documentary of sorts. created from fragments of a found audio letter and appropriated and improvised footage, the film draws attention to its own dismembering of another’s experience, while simultaneously attempting to evoke that experience. limited to 20 copies.

 

these items are not for sale. i will trade for the rough equivalent in pretty much anything of interest, including (but not limited to) cds, dvds, zines, authentic ufo photos etc. if you have nothing to trade, email me and we can probably come to an arrangement.

 

email: xxxxxxx_xxxxxxxxxx@xxxxx.xxx.xx 

   

 

 

 






---------------------------------
Find local movie times and trailers on Yahoo! Movies.
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From ???@??? Sat Apr 30 04:40:54 2005
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Date: Sat, 30 Apr 2005 00:40:32 -0400
From: Adam Young <xxxx_xxxxx@xxxxxx.xx>
Subject: [microsound] Roadcase for iMac G4 17" widescreen??
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If anyone can help me, I¹d be infinately greatful -

I need to safely transport an iMac g4 with a widescreen with a pile of audio
gear on a train, and it needs to be easily carried in one hand. It needs to
be something that can be put in other vehicles and mixed in with other cases
full of gear without me worrying about it being damaged.

Does anyone have any ideas or links fo rme?

-adam young

adam young
tractile.net | direwires.com | adyo.info



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From ???@??? Fri Apr 29 21:21:12 2005
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Date: Fri, 29 Apr 2005 23:21:02 +0200
From: dimitri <xxxxxxx@x-x-x-x.xxx>
Subject: [microsound] Oto Onkyo _ Playlist
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Hi list,
here are the 2 last oto onkyo playlist:
You can check older one here : http://oto-onkyo.blogspot.com/
I'm steel searching new material for the show, if you are interested to 
have your sounds broadcasted in France, contact me.
Have a nice week-end, cheers
Dimitri

  VEN.29_04_2005

  Heller _ JNV 04.1 _ .01..05. _ Optical Sound
Fugazi _ Arpeggiator (demo) _ Instrument _ Dischord
Frank bretschneider _ Go ! said the bird _ Looping I-VI _ Raster Noton
Coh _ Novotel Suite ext _ Electric Electric _ Raster Noton
Heller _ otb 03 _ .01..05. _ Optical Sound
Autechre _Live internet streaming
Rechenzentrum _ Leak _ SoundXVision 2004(V/A)
Cornelius _ Wataridori _ SoundXVision 2004(V/A)
Fonica _ Coda _ Ripple _ Plop
Kim Cascone _ Zephirium Scan _ An anthology of noise & electronic Music 
(V/A)
Morton Subotnick_ Mandolin _ An anthology of noise & electronic Music 
(V/A)
Mitchell Akiyama _ Arteial _ Archiv1 (V/A) _ Raster Noton
O’Blatt _ Here Else
Ilpo Vasainen _ Klikki _ Asuma _ Mego
Autechre _ Live internet Stream





  VEN.15_04_2005

  Agf/Dlay _ the return of us _ clickhop version 1
Aaron Miller _ 4 _ Modularia _ Otodisc
Aaron Miller _ 6 _ Modularia _ Otodisc
Aaron Miller _ 5 _ Modularia _ Otodisc
Ambulance _ Rodeo _ The Curse of Vale Do Lobo
Gescom _ Mag3.1426 (ae remix) _ This _ Skam
Autechre _ Live internet streaming
Brian Lavelle _ Time Emptied _ MicroSound Parasites Project
Alva Noto _ Remodel _ Transvision _ Raster Noton
Stephan Mathieu _ A Pillow for Sue _ Good Night, Music To Sleep By 
(V/A) _ Tigerbeat6
Fennesz _ 2005.02.19 (LIVE)
Yasunao Tone _ Wounded Man’ yo 2-2000 _ Self Titled
Stephan Mathieu _ A Drink Song (fuer Katja) _ Good Night, Music To 
Sleep By(V/A) _ Tigerbeat6
Taylor Deupree _ Bare _ Between Two Point (V/A) _ 12k
--Boundary_(ID_gMaIestOuXXFXeZKg7hLJA)--

From ???@??? Fri Apr 29 20:52:21 2005
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Date: Fri, 29 Apr 2005 16:52:00 -0400
From: Adam Young <xxxx_xxxxx@xxxxxx.xx>
Subject: [microsound] Garageband experiment - question about Garageband
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I¹m trying to use Garageband as a universal platform for a collaborative
project between myself and a couple people ­ it was the best option because
it was cheap and all we needed was the ability to lay and adjust multiple
tracks and their panning and simple editing. Anyway, we are finding it gets
³stuck² at bar 999. Is there a way past this? Or is it a limitation of the
program?

We¹ve all upgraded to Garageband 2

-adam



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From ???@??? Fri Apr 29 20:47:11 2005
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From: =?iso-8859-1?Q?Joakim_Lind=E9n?= <xxxxxx.xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] image to sound conversion software
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>, jake elliott <xxxxxx@xxxxx.xxx>
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Yes, vOICe is a pretty nice piece of software... Very configurable for your 
needs. The synthesis can be altered quite extensively.
----- Original Message ----- 
From: "jake elliott" <xxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Friday, April 29, 2005 8:49 PM
Subject: Re: [microsound] image to sound conversion software


i don't want to fork this conversation away from the dialogue
developing about "transcoding" but i just followed links to this
totally interesting project:
ttp://www.seeingwithsound.com/voice.htm

"The vOICe Learning Edition translates arbitrary video images from a
regular PC camera into sounds. This means that you can see with your
ears, whenever you want to. Now step beyond your computer screen and
screen reader and try this camera-based "scene reader". With a
notebook PC you can even go mobile. How well you can learn to see with
your ears is something that only you can find out, but now you can
indeed find out and learn through this Learning Edition software, for
free!"

the sample sounds remind me of "classic" electronic/synthesizer music.  :)

this is the technology discussed in an episode of 'quirks&quarks' that
was blogged just now on boingboing:
http://www.cbc.ca/quirks/archives/04-05/apr02.html

best,
jake

On 4/25/05, under the radar <xxxxxx_xxxx@xxxxxxx.xxx> wrote:
> I'm looking for something that will convert a standard digital image file
> (.jpe, .gif, etc) into an audio file. Does anyone know of any tools that 
> can
> be used for that?
>
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From ???@??? Fri Apr 29 18:49:45 2005
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Subject: Re: [microsound] image to sound conversion software
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i don't want to fork this conversation away from the dialogue
developing about "transcoding" but i just followed links to this
totally interesting project:
ttp://www.seeingwithsound.com/voice.htm

"The vOICe Learning Edition translates arbitrary video images from a
regular PC camera into sounds. This means that you can see with your
ears, whenever you want to. Now step beyond your computer screen and
screen reader and try this camera-based "scene reader". With a
notebook PC you can even go mobile. How well you can learn to see with
your ears is something that only you can find out, but now you can
indeed find out and learn through this Learning Edition software, for
free!"

the sample sounds remind me of "classic" electronic/synthesizer music.  :)

this is the technology discussed in an episode of 'quirks&quarks' that
was blogged just now on boingboing:
http://www.cbc.ca/quirks/archives/04-05/apr02.html

best,
jake

On 4/25/05, under the radar <xxxxxx_xxxx@xxxxxxx.xxx> wrote:
> I'm looking for something that will convert a standard digital image file
> (.jpe, .gif, etc) into an audio file. Does anyone know of any tools that can
> be used for that?
> 
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Sorry to post this to the list.

Just tring to get a hold of andrew jones, lost your contact, anyone have it?

thanks,
Scott



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From ???@??? Fri Apr 29 11:06:44 2005
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From: =?iso-8859-1?Q?Joakim_Lind=E9n?= <xxxxxx.xxxxxx@xxxxxx.xx>
Subject: [microsound] What happened to BionixFX? Has anyone heard anything?
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This thing was supposed to harness the raw power of todays gfx boards and use them for sound processing. Since gfx boards have a much larger market, they are much cheaper compared to developing a new card with the same power used only for audio purposes. It seemed like a great thing, and it even got some attention @ Tom's Hardware and Slashdot. Since then, nothing has happened...as far as I know. Anyone up to speed on this?

http://www.bionicfx.com/



Joakim
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What about floating point 32 bit images. These can be output from various 3d 
applications in formats like OpenEXR or HDR, and I believe some camera RAW 
formats does have a limited version of a 32bit space so that exposure and 
such things can be altered after the image is shot...
A 32bit (per channel) image will have a much much higher dynamic range, 
instead of the straight 256 levels per channel in most images, and could 
possibly create a more fluid transition between frequencies and amplitude - 
if you want to extract sound that way. Just a thought. 


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Subject: Re: [microsound] What other electronic musicrelated mailing lists is
 everybody on?
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www.em411.com  is a good community for helpful feedback your music, 
techniques and software hardware issues....
----- Original Message ----- 
From: "Sim" <xxxxx.xxx.xxxxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Thursday, April 28, 2005 8:07 PM
Subject: [microsound] What other electronic musicrelated mailing lists is 
everybody on?


Title says it all.

Seems to me there is a bunch of people here who are pretty eager to
know stuff about electronic/computer music. I am currently enrolled on
3 hypperreal mailinglists: gabber idm and this one. I noticed some ppl
from this list are also on the idm one so i figured they might even
dwell on more. Good forumlocations are also welcome altough i must say
i like mailinglists better.

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From ???@??? Thu Apr 28 19:08:03 2005
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Subject: [microsound] What other electronic musicrelated mailing lists is
 everybody on?
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Title says it all.

Seems to me there is a bunch of people here who are pretty eager to
know stuff about electronic/computer music. I am currently enrolled on
3 hypperreal mailinglists: gabber idm and this one. I noticed some ppl
from this list are also on the idm one so i figured they might even
dwell on more. Good forumlocations are also welcome altough i must say
i like mailinglists better.

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From ???@??? Thu Apr 28 17:05:42 2005
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I'm glad that you bring this up.  There are many
"conventional" methods for converting image2sound or
sound2image.  These conventions seem for the most part
to be academic models that are not as concerned with
aesthetic results.
The fact is, all things in the digital realm are a
form of data, and that data is infinitely transposable
and transmutable if you have the right tools for
manipulating it.  Each pixel contains 3 or 4 numbers
(depending on whether it has an alpha channel), which
can be readily used as parameters for any number of
synthesis modules.  If you are using a moving image,
it is perhaps better to analyze the matrix as a whole
to get shifting information in time.  I personally
would avoid the arbitrary results of a pre-fab
software converter.  
I once created a patch that allowed a user to scrub
through an image with a joystick to get parameters
that drove some complex FM synthesis.  This approach
offers a more performative possibility, as you are
using the image as a 3-4 layered map that can be
navigated to mine sounds.

andrew
--- derek holzer <xxxxx@x-x.xxx> wrote:
> I think any discussion of "transcoding" image (or
> other data) into sound 
> has to take into account that such mapping is purely
> subjective. The 
> artistry is in finding meaningful transpositions
> from one medium to 
> another. Using "raw" data as sample values is
> certainly one way, and 
> using an image as spectrographic values for
> resynthesis is certainly 
> another. There are certainly enough softwares out
> there that do either 
> trick, and those sounds are familiar to us from the
> many many artists 
> who have used those softs already (to death in some
> cases). Dig a little 
> deeper and decide for yourself the relationship of
> pixel to sample 
> instead of relying on other people's ready-mades and
> you might be on to 
> something new.
> 
> Anyway, I'll be giving a workshop with Sara Kolster
> on PD and GEM in 
> Bergen Norway next month, and one facet of that
> workshop is the 
> relationship of (moving) image to sound. Emphasis
> will be placed on 
> direct connections between sound and image through
> three different 
> methods: influence of sound on image, influence of
> image on sound and 
> the use of common "control data" for both image and
> sound. Full text has 
> been posted on the Microsound-announce list:
> 
>
http://or8.net/pipermail/microsound-announce/2005-April/000080.html
> 
> derek
> 
> -- 
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 175:
> "What are the sections sections of? Imagine a
> caterpillar moving"
> 
>
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> 

Andrew Benson
www.cloud-machine.com

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From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] image to sound conversion software
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I think any discussion of "transcoding" image (or other data) into sound 
has to take into account that such mapping is purely subjective. The 
artistry is in finding meaningful transpositions from one medium to 
another. Using "raw" data as sample values is certainly one way, and 
using an image as spectrographic values for resynthesis is certainly 
another. There are certainly enough softwares out there that do either 
trick, and those sounds are familiar to us from the many many artists 
who have used those softs already (to death in some cases). Dig a little 
deeper and decide for yourself the relationship of pixel to sample 
instead of relying on other people's ready-mades and you might be on to 
something new.

Anyway, I'll be giving a workshop with Sara Kolster on PD and GEM in 
Bergen Norway next month, and one facet of that workshop is the 
relationship of (moving) image to sound. Emphasis will be placed on 
direct connections between sound and image through three different 
methods: influence of sound on image, influence of image on sound and 
the use of common "control data" for both image and sound. Full text has 
been posted on the Microsound-announce list:

http://or8.net/pipermail/microsound-announce/2005-April/000080.html

derek

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 175:
"What are the sections sections of? Imagine a caterpillar moving"

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Date: Wed, 27 Apr 2005 23:39:33 -0700 (PDT)
From: lloyd barrett <xxxxxx_xxxxxxxx_xx@xxxxx.xxx>
Subject: [microsound] Incidental Amplifications: Call for Works
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INCIDENTAL AMPLIFICATIONS 
Curated By Lloyd Barrett // Lawrence English

For most of us, our every moment (awake and
unconscious) is enveloped by sound. From the obnoxious
alarm tone that raises us from slumber to the
microscopic sounds of natural nocturnal transmissions;
there is always sound.

As a society we have increasingly sought to augment
and indeed control  
the environments around us. All manner of tools have
been utilised in
this ongoing war against the unfamiliar, the
unexpected and the ‘undesirable’. Along with a variety
of visuals cues, sound is progressively used to colour
our surroundings with aural hues.

The Twentieth Century brought with it an unparalleled
use of artificial sound in the form of George Squier’s
Muzak – a creation designed to enhance (and perhaps
determine) amongst other things our ‘shopping’
experience. For decades, no mall or place of
substantial commerce was complete without the dulcet
tones of Muzak. To many it would seem that there is a
world of difference between the 
bleating high frequency sounds of an Indian
marketplace and multiple
channels of mid-tempo instrumental music filling our
shopping malls; however the ability for sound to draw
and focus our attention is universal and well
documented.

But what of the remaining sounds? The incidental
sounds that Muzak 
tries (and often fails) to mask: a dropped plate in
the kitchen; a
leaky tap; the creaking sounds of heated aluminium
roofing and the ever-present air conditioner.

Incidental Amplifications reclaims the consumer
soundscape by dispersing pieces made from incidental
sounds into a variety of public
spaces including the Fortitude Valley and Chinatown
mall multi-speaker sound-systems in Brisbane,
Australia.

Selected submissions will be sequenced and dispersed
late nights
as part of Liquid Architecture 6, Valley Fiesta and
the Queensland 
Music Festival 2005.

Artists from Queensland, Australia and the rest of the
world are 
invited to contribute an audio work that addresses the
ideas of
reclaiming and utilising these subsidiary soundtracks
to our everyday shopping/urban/rural experiences.

The pieces selected for the exhibition can be of
variable length. 
Guidelines for submission are as follows:
1) Submitted pieces must address incidental sounds
either directly 
(field recordings etc) or indirectly (reconfigured
sound or synthesised incidentals);
2) All pieces must be suitable for use in a public
space with a general audience; 
3) All submission should be sent as a data and audio
CD;
4) Submissions are due by Monday 23rd May 2005.
Please send all submissions to ROOM40 C/O:
LAWRENCE ENGLISH, PO BOX 771 HAMILTON CENTRAL QLD
AUSTRALIA 4007
This project is supported by Liquid Architecture,
Queensland Music 
Festival, Valley Fiesta, Room40 and Small Black Box.

__________________________________________________
Do You Yahoo!?
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From ???@??? Wed Apr 27 20:06:49 2005
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Date: Wed, 27 Apr 2005 22:05:44 +0200
From: "pedro zemos98.org" <xxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] image to sound conversion software
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mmmm

any soft (PC)  file-text_to_audio ???
maybe,  pdf_to_audio or doc_to_audio ???


help me!
thanks!!!!

www.voluble.net/LeydelRuido

,)
salux

pedro
www.zemos98.org
www.audioespacio.com
www.voluble.net 

----- Mensaje original ----- 
De: "bruce tovsky" <xxxxx@xxxxxxxxxxxx.xxx>
Para: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Enviado: miércoles, 27 de abril de 2005 21:22
Asunto: Re: [microsound] image to sound conversion software


| while metasynth 2.7 isn't listed on the u&i website,
| edward spiegel at u&i told me that he might still have
| a few copies left. if you're interested, email me off-list
| and i will put you in touch with him.
| cheers
| bruce
| 
| On Apr 27, 2005, at 12:00 PM, Anthony Saunders wrote:
| 
| > Metasynth 2.7 and earlier... which are probably unavailable through 
| > legit channels, but maybe it's still sold.
| >
| > On Apr 27, 2005, at 5:09 AM, ||anton| aeki|| wrote:
| >
| >> hello,
| >>
| >> does anyone know an app like hyperupic for os9 ?
| >>
| >
| >
| > ---------------------------------------------------------------------
| > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
| > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
| > website: http://www.microsound.org
| >
| >
| >
| bruce tovsky
| www.skeletonhome.com
| 
| "Sometimes the appropriate response to reality is to go insane."
| Philip K. Dick
| 

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--Boundary_(ID_vEA32kaedT6Azkqs6ZrQnQ)
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while metasynth 2.7 isn't listed on the u&i website,
edward spiegel at u&i told me that he might still have
a few copies left. if you're interested, email me off-list
and i will put you in touch with him.
cheers
bruce

On Apr 27, 2005, at 12:00 PM, Anthony Saunders wrote:

> Metasynth 2.7 and earlier... which are probably unavailable through 
> legit channels, but maybe it's still sold.
>
> On Apr 27, 2005, at 5:09 AM, ||anton| aeki|| wrote:
>
>> hello,
>>
>> does anyone know an app like hyperupic for os9 ?
>>
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>
>
bruce tovsky
www.skeletonhome.com

"Sometimes the appropriate response to reality is to go insane."
Philip K. Dick
--Boundary_(ID_vEA32kaedT6Azkqs6ZrQnQ)--

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Metasynth 2.7 and earlier... which are probably unavailable through 
legit channels, but maybe it's still sold.

On Apr 27, 2005, at 5:09 AM, ||anton| aeki|| wrote:

> hello,
>
> does anyone know an app like hyperupic for os9 ?
>


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From ???@??? Wed Apr 27 15:55:19 2005
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Date: Wed, 27 Apr 2005 11:55:11 -0400
From: Adam Young <xxxx_xxxxx@xxxxxx.xx>
Subject: [microsound] Direwires @ MUTEK 2005 + Program Schedule online
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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www.mutek.ca ­ schedule for this year¹s festival is online now.

This will be my real debut as ³DIREWIRES² as I will be performing at the
festival this year. I hope that those that are able to make it out to see
the show and enjoy the rest of the festival as well. I've included a portion
of text from my last mailing list send out here:

For friends, fans, enemies and eager ears everywhere - A special
announcement.


Adam Young of Tractile will perform what will be known as his world live
debut as DIREWIRES at MUTEK 2005 in Montreal, PQ.
Festival takes place June 1-5.

MUTEK 2005
Night 3

Room 1 : Vertex, Diane Labrosse, Günter Müller, Marcus Schmickler, Discom
Room 2 : Direwires, Klimek & Tim Hecker with Lia, Meek, Bruno Pronsato,
Apparat, Pan/Tone (Aka Sid Lerock)

June 3, 21h @ Just for Laughs Museum

Tickets: $22.50 in Advance, $27.50 after May 20 (plus tax and s.f.)


MORE INFORMATION TO COME. PLEASE STAY GLUED TO MUTEK.CA and DIREWIRES.COM.

Thank you.



A note or two about DIREWIRES:

?Direwires? is a project that blurs the lines between sound art and musical
composition. Using specific technique and criteria, Adam writes a
comprehensive soundtrack to his own life; treating it as if it were a film.
Influenced by the work of composer Koji Kondo (namely selections from the
Zelda: Ocarina of Time) as well as experimental and ambient artists from
around the globe, Adam employs the use of field recordings, familiar sounds
and voices to weave a tapestry of beautiful tones and musical expressi
ons.


adam young
tractile.net | direwires.com | adyo.info



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OK. please take a look at:
 
http://www.mikamartini.scd.cl/Chiste_index.htm
 
Best Regards from Chile, Southamerica. Mika.

INDEXOF <xxxxx@xxxxxxx.xxx> wrote:
....just a short announcement:


INDEXOF

* is a new netlabel based in berlin, germany
* is dedicated to experimental electronics, and more
* favours minimalist aesthetics, but is willing to forget about this

we welcome your submissions (download links please!) as well as any comments.


best,
kk // INDEXOF
http://www.indexof.org

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+ + + + + + + + + + + + + 
[M!M] [CHILE]
[www.mikamartini.scd.cl]





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From ???@??? Wed Apr 27 14:21:16 2005
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http://www.polarbearltd.com/.
Ask for Heather and tell her that I referenced you, she is very
helpfull with all you'r questions.
They can also do all the odd shaped CDs, or CDs with clear outer rings
around 'em. etc.
-chris



-- 
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
(1.8)sec.records
www.1pt8.tk
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Two (1.8)sec.records releases
featured on xstream-radio top 10
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From ???@??? Wed Apr 27 09:47:36 2005
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From: guiver ben <xxxxxxxxx@xxxxx.xxx>
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Dear All,

hello. i am in need of some kind of version of
protools to run on my mac 9650 / os9/ g3 sonnet
upgrade running at 400mhz. 

the idea being that i could then buy a cheap
audiomedia 3 card and bob's your uncle i dont have to
use the crappy audio in and out that are on the mac
motherboard. also that i dont then have to upgrade in
a way that could be terminal for my bank account. i
dont want to buy a m box and an ibook, well not right
now anyway. although i have logic 4.5 an so it may
well be most practical to buy an emagic 12 12 or
whatever they're called, then use the files in
protools, it'd just be nice to have the opportunity to
use protools straight through. sorry if this comes
across as very braindead. 

any advice / offers of help would be greatly recieved.

yours sincerely,

ben guiver

07958 658569 (uk mobile) 

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From ???@??? Wed Apr 27 09:09:55 2005
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hello,

does anyone know an app like hyperupic for os9 ?


Anthony Saunders <xxxxxxx@xxxxxxxxxxx.xxx> said:

> 
> there are a lot of apps that will open any file for you, but that's 
> generally not very satisfying beyond the immediate visceral thrill of 
> the harsh sound of raw data. Good for source material.
> 
> Apps like Metasynth and Hyperupic are much more interesting in the long 
> term, because they are specifically designed for this application.
> 
> Metasynth 4 is desirable and powerful, but priced outside the range of 
> an impulse buy, ($599 for the 24bit version!), so this encouraged me to 
> spend some time with Hyperupic and Photoshop Elements (as Hyperupic 
> leaves you to use an image editor of your own choice), which I found to 
> be quite rewarding.
> 
> the basic principle is that the image is read in with one dimension 
> being time and the other being the frequency spectrum. the colors are 
> then translated into sound based on their intensities, and you can also 
> have it interpret the stereo space. An enormous amount of flexibility 
> is supplied in the way you can create scales and frequency 
> distributions... you can lose hours, in the best way, to tweaking the 
> settings!
> 
> it can use either a sinewave or an additive series of sinewaves or an 
> audio file as the oscilator for the sounds.
> 
> I get the most useful/expressive results by making images that are very 
> light with colors that fade in and out, with much more intense pieces 
> here and there to encourage a wide dynamic range. taking the time to 
> run the process on the same image with multiple audio files as the 
> sound source, and tweaking the wide variety of settings and saving 
> dozens of audio files is the strategy I take with this.
> 
> hyperupic is freeware for OS X (and originally Next): 
> http://silvertone.princeton.edu/~penrose/soft/index.html
> 
> one of the projects I'm currently working on uses roughly 60 sounds 
> made with hyperupic and photoshop, and then layered and processed with 
> Logic Pro 7 and Soundhack.
> 
> Anthony
> 
> 
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> 
> 
> 

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From ???@??? Wed Apr 27 00:19:50 2005
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there are a lot of apps that will open any file for you, but that's 
generally not very satisfying beyond the immediate visceral thrill of 
the harsh sound of raw data. Good for source material.

Apps like Metasynth and Hyperupic are much more interesting in the long 
term, because they are specifically designed for this application.

Metasynth 4 is desirable and powerful, but priced outside the range of 
an impulse buy, ($599 for the 24bit version!), so this encouraged me to 
spend some time with Hyperupic and Photoshop Elements (as Hyperupic 
leaves you to use an image editor of your own choice), which I found to 
be quite rewarding.

the basic principle is that the image is read in with one dimension 
being time and the other being the frequency spectrum. the colors are 
then translated into sound based on their intensities, and you can also 
have it interpret the stereo space. An enormous amount of flexibility 
is supplied in the way you can create scales and frequency 
distributions... you can lose hours, in the best way, to tweaking the 
settings!

it can use either a sinewave or an additive series of sinewaves or an 
audio file as the oscilator for the sounds.

I get the most useful/expressive results by making images that are very 
light with colors that fade in and out, with much more intense pieces 
here and there to encourage a wide dynamic range. taking the time to 
run the process on the same image with multiple audio files as the 
sound source, and tweaking the wide variety of settings and saving 
dozens of audio files is the strategy I take with this.

hyperupic is freeware for OS X (and originally Next): 
http://silvertone.princeton.edu/~penrose/soft/index.html

one of the projects I'm currently working on uses roughly 60 sounds 
made with hyperupic and photoshop, and then layered and processed with 
Logic Pro 7 and Soundhack.

Anthony


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From ???@??? Tue Apr 26 22:59:34 2005
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Date: Wed, 27 Apr 2005 00:59:37 +0200
From: "Sune T. B. Nielsen" <xxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] image to sound conversion software
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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Cool Edit opens any file and plays it as sound.

/Sune


----- Original Message ----- 
From: "under the radar" <xxxxxx_xxxx@xxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, April 25, 2005 5:35 PM
Subject: [microsound] image to sound conversion software


> I'm looking for something that will convert a standard digital image file 
> (.jpe, .gif, etc) into an audio file. Does anyone know of any tools that 
> can be used for that?
>
>
>
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>
> 


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From ???@??? Tue Apr 26 23:13:11 2005
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Date: Tue, 26 Apr 2005 17:27:08 -0500
From: Jonathan Zorn <xxxxx@xxxxxxxx.xxx>
Subject: Re: [microsound] small runs of CDs
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I have used amtech for several small runs of CDs.


http://www.amtechdisc.com/index.htm


Jonathan Zorn
http://set-projects.com/

On Apr 26, 2005, at 3:15 PM, David @ Audiobulb wrote:

> Does anyone know of a pressing plant that will do a run of 300 CDs? 
> (not CD-Rs)....
>
> Thanks (David)
>
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Date: Tue, 26 Apr 2005 23:01:24 +0200
From: Marta Klonowska <xxxxxx@xxxxxx.xxxx.xx>
Subject: [microsound] !!! Meet the blip-pop Superstars !!!
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"Think of it as Donkey Kong meets Norman Cook...or maybe Tetris takes on Kraftwerk." 
- Clark Boyd, BBC World Service



: :  Gameboyzz Orchestra Project  : :
: :  http://gameboyzz.com  : :


: :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :

# Monday, 2 May 2005
Performance at Majowka Srebrnogorska
Festival of Revolution Songs but not only 
http://www.stoszowice.pl 
Srebrna Gora
Poland

 : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :
 
: :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :


# Monday, 9 May 2005, 9 pm
ENTERmultimediale 2 
Performance at festival
http://www.entermultimediale.cz/
Palac Akropolis 
Prague
Czech Republic

: :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :

: :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :


# Saturday, 14 May 2005
WRO 05 
 11th International Media Art Biennale
Performance at festival
http://www.wrocenter.pl
Wroclaw 
Poland

: :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :

: :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :

# Friday, 20 May 2005, 10 pm
IM6 party 
Performance at festival
http://www.fi.muni.cz/im6/
Klub Faval
Krizikovskeho 22, Brno 
Czech Republic

: :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :


Level 2 > Score 67

The aim of the Gameboyzz Orchestra Project is to create irony in the electronic music scene with our low tech hardware and relatively simple software in a world dominated by ever more advanced digital music processing and creation technologies. A crucial decision since the very conception of this digital music project was the creation of a unique brand of music by relying solely on our GameBoy consoles as musical instruments.

: :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :


Marta Klonowska
The Manager
call me: 0048 601406977

: :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :  : :




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you might try:

http://www.copycatsmedia.com/products/index.htm


on Apr 26, 2005, at 1:15 PM, David @ Audiobulb wrote:

> Does anyone know of a pressing plant that will do a run of 300 CDs? 
> (not CD-Rs)....
>
> Thanks (David)


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maybe dual plover? not sure if they have a minimum. www.dualplover.com

On 4/26/05, David @ Audiobulb <xxxxxxxx@xxxxx.xx.xx> wrote:
> Does anyone know of a pressing plant that will do a run of 300 CDs? (not
> CD-Rs)....

-- 
v'

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From ???@??? Tue Apr 26 20:15:08 2005
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Does anyone know of a pressing plant that will do a run of 300 CDs? (not 
CD-Rs)....

Thanks (David) 


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From ???@??? Tue Apr 26 17:26:16 2005
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hi,
just new on this list,
maybe this helps though..
i like it a lot for messing with audiofiles,
also excellent fm-synth;
...have a look here :

"A set of audio, video and text filters and generators
for the Macintosh."

http://www.akirarabelais.com/software/software.html

and for "binaural mics" (in germany) maybe have a look at
the "soundman OKM" series.. not sure if they are sold elsewhere.

best, from köln,  elmar / 8m2stereo


http://www.emit.cc/exclusives.jsp

http://pathmusick.hermetech.net/



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From ???@??? Tue Apr 26 13:18:35 2005
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Subject: [microsound] flash tracker - binaural mic
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Has anyone mentioned www.soundprofessionals.com? i've been buying mics from them for years and recently got a pair of in-ear binaurals that have proven to work extremely well in a wide range of settings with my 16/44 .wav recording portable.




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From ???@??? Tue Apr 26 07:46:56 2005
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Date: Tue, 26 Apr 2005 00:46:31 -0700
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] m-dist
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a Linux midi distro:
http://www.plus24.com/m-dist/


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Subject: [microsound]  [ot]multi-user drawing
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Of interest[?]

http://ericdeis.com/projects/beauty%20and%20chaos/Launch%20Project.php

Michael North
www.phoniq.net
xxxxxxx.xxxxx@xxxxxxxxx.xx
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From ???@??? Mon Apr 25 22:57:35 2005
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Date: Tue, 26 Apr 2005 00:57:22 +0200
From: punck <xxxx@xxxxx.xxx>
Subject: Re: [microsound] [help] atrac3 to Wav
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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http://www.marcnetsystem.co.uk/himd

export your recordings from himd to pc with sonicstage (like omg or ogm)

convert the files into wav,mp3,ogg... with HiMdRenderer o.31

the latest version is the 0.31
it is free and work fine.

ciao
punck
http://www.punck.net
http://www.ctrlaltcanc.tk


----- Original Message ----- 
From: "Mika Martini" <xxxxxxxxxxx@xxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, April 25, 2005 7:17 PM
Subject: [microsound] [help] atrac3 to Wav


> Hi microsounders,
>
> Can anyone help me: ¿how can i convert a recording in sony hi-md atrac3
format to WAV, within de Software SonyStage? ¿this is posible or hi-md is a
bluf...?
>
> Please respond off-list
>
> Best, Mika.
>
>
> + + + + + + + + + + + + +
> [M!M] [CHILE]
> [www.mikamartini.scd.cl]
>
>
>
>
>
> ---------------------------------
> Do You Yahoo!?
> Todo lo que quieres saber de Estados Unidos, América Latina y el resto del
Mundo.
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>



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From ???@??? Mon Apr 25 19:48:14 2005
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Date: Mon, 25 Apr 2005 21:47:49 +0200
From: pAn the Green 9 <xxx@x-xxxxx.xx>
Subject: [microsound] OT:_Prague
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Hi ... ill be in Prague the 14-16 of May ... can you recommend any 
exhibitions, concerts etc I could see while there ....

please contact me off list

thanx

-pAn

"make your hate solid in silence ... "



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From ???@??? Mon Apr 25 17:56:09 2005
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Frank Barknecht schreef:
> Hallo,
> under the radar hat gesagt: // under the radar wrote:
> 
> 
>>I'm looking for something that will convert a standard digital image file 
>>(.jpe, .gif, etc) into an audio file. Does anyone know of any tools that 
>>can be used for that?
> 
> 
> Juergen Reuter presented his SoundPaint program this weekend at the
> Linux Audio Conference: 
> 
>     Jürgen Reuter
>     SoundPaint - Painting Music
> 
> 

http://www.ipd.uka.de/~reuter/soundpaint/


m


-- 



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From ???@??? Mon Apr 25 17:47:27 2005
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Subject: Re: [microsound] image to sound conversion software
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Hallo,
under the radar hat gesagt: // under the radar wrote:

> I'm looking for something that will convert a standard digital image file 
> (.jpe, .gif, etc) into an audio file. Does anyone know of any tools that 
> can be used for that?

Juergen Reuter presented his SoundPaint program this weekend at the
Linux Audio Conference: 

    Jürgen Reuter
    SoundPaint - Painting Music


    We present a paradigm for synthesizing electronic music by
    graphical composing. The problem of mapping colors to sounds is
    studied in detail from a mathematical as well as a pragmatic point
    of view. We show how to map colors to sounds in a user-definable,
    topology preserving manner. We demonstrate the usefulness of our
    approach on our prototype implementation of a graphical composing
    tool.
    
Slides and Paper of his talk are online, an Ogg recording was promised
to follow later: 
http://lac.zkm.de/papers/juergen_reuter.pdf
http://lac.zkm.de/slides/juergen_reuter_slides.pdf

Ciao
-- 
 Frank Barknecht                               _ ______footils.org__
             
          _ __latest track: "scans" _ http://footils.org/cms/show/41

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--Boundary_(ID_aB+AZmh7J92N1of+UjZCiQ)
Content-Type: text/plain; charset=iso-8859-1
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Hi microsounders,
 
Can anyone help me: ¿how can i convert a recording in sony hi-md atrac3 format to WAV, within de Software SonyStage? ¿this is posible or hi-md is a bluf...?
 
Please respond off-list
 
Best, Mika.


+ + + + + + + + + + + + + 
[M!M] [CHILE]
[www.mikamartini.scd.cl]





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From ???@??? Mon Apr 25 17:16:43 2005
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Date: Mon, 25 Apr 2005 19:16:36 +0200
From: 75Hertz <xxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] 75Hertz Lives & Mix
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75Hertz Lives & Mix

Vendredi 29 avril 2005, 20h30, 6 euros
Confluences 190 bd Charonne 75020 PARIS M° Philippe Auguste
Dans le cadre du festival Avril #3 (plus d'informations sur
http://www.confluences.net/avril)


LIVES

Boca Raton (Korm Plastics, Spekk, Cronica Electronica)
explore les différentes strates des sons synthétiques et concrets aux
moyens d'outils électroniques. En utilisants des matériaux sonores
issues de ces deux sphères, sa forme musicale montre l'intégration et
la coexistence des sons naturels et leurs pendants artificiels. A
l'opposé de la mélodie, l'harmonie et le rythme, ses travaux sont
construits d'après de nouvelles bases musicales fondamentales :
texture, volume et temporalité. Kapotable, l'opus de sa collaboration
avec l'artiste américain Richard Chartier sortira prochainement sur le
label Korm Plastics, lié au prestigieux label Staalplaat.
( http://www.kormplastics.nl - http://www.cronicaelectronica.org -
http://www.spekk.net )

Emmanuelle Gibello & Sylvan Licois (Scenophonie)
développent un travail de composition et de mixage à partir de sons
enregistrés dans de multiples contextes, naturels et urbains. (
http://www.scenophonie.net )

MIX

Fanny Adams & dB (75Hertz selectors)
Aftershow mêlant electronica, breakbeat, musique industrielle, no-wave,
hip-hop, rock et avant-garde.


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SoundHack!!  
A lot of people did that sort of thing when soundHack
first came out.  I think it just changes the file
header information. 

--- under the radar <xxxxxx_xxxx@xxxxxxx.xxx> wrote:
> I'm looking for something that will convert a
> standard digital image file 
> (.jpe, .gif, etc) into an audio file. Does anyone
> know of any tools that can 
> be used for that?
> 
> 
> 
>
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> 
> 

Andrew Benson
www.cloud-machine.com

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i've used u&i's metasynth for years and it has an interesting
twist on turning image into sound. its paradigm is a bit different
than the other tools mentioned in previous emails, check out
the website for yourself:
http://www.uisoftware.com/PAGES/products.html


bruce tovsky
www.skeletonhome.com

"Sometimes the appropriate response to reality is to go insane."
Philip K. Dick
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two others are coagula and bitmap player. i'm not sure what the websites for them are, but they'll be easy to find if you search for them. 
both of these use .bmp files though, not jpg.


erik schoster <xxxxxxxxxx@xxxxx.xxx> wrote:
there've been a lot of really interesting discussions on the
sonification of data on this list, you might want to google the
archives and check it out. otherwise, on the mac my favorite two
options are tom erb's soundhack (www.soundhack.com) and chris
penrose's (maybe more poetic) hyperupic
(http://silvertone.princeton.edu/winham/PPSK/hyper.html).

best,
erik

On 4/25/05, Kevin Ponto wrote:
> http://audacity.sourceforge.net/
> 
> k:p
> 
> 
> On Apr 25, 2005, at 8:35 AM, under the radar wrote:
> 
> > I'm looking for something that will convert a standard digital image
> > file (.jpe, .gif, etc) into an audio file. Does anyone know of any
> > tools that can be used for that?
> >
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> 
> ---------------------------------------------------------------------
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> 
> 


-- 
he can jog: www.hecanjog.com
cedar a.v.: www.cedarav.com
luv sound: www.luvsound.org
please download me: pdm.hecanjog.com

he can jog full length out now on fork series records:
http://www.forkseries.com

Switches comp out now on Audiobulb Records
http://www.audiobulb.com

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From ???@??? Mon Apr 25 16:44:55 2005
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Date: Mon, 25 Apr 2005 11:46:16 -0500
From: Rob Danielson <xxxx@xxx.xxx.xxx>
Subject: Re: [microsound] flash tracker - binaural mic
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At 3:38 PM +0200 4/24/05, derek holzer wrote:
>Hi Tad,
>
>vze26m98 wrote:
>
>>One of the many things that differentiate Core Sound is their response
>>matching of the microphone pair.
>
>In the end, I did a poor man's capsule matching by comparing the 
>resistance of each capsule. I bought a lot of 10, so I could make 3 
>or 4 "closely" matched pairs and had a few leftover for experiments. 
>It's not as precise as actual frequency matching, but it's enough 
>for the situation I use them for, espc considering the preamps and 
>AD converters of my Sony minidisc and DAT walkman. I would still use 
>them for group projects such as workshops and sound-gathering walks, 
>as they will get thrashed in the end anyway, and in the future I 
>will probably invest in a substantial pair of DP 4060's, which I 
>could probably get frequency-matched by the sellers (at EUR 300-400 
>I would hope so!).
>
>d.
>
>--
>derek holzer ::: http://www.umatic.nl
>---Oblique Strategy # 125:
>"Only a part, not the whole"
>

Sorry to barge in from almost nowhere. I've just done some tests in 
conjuncton with the naturerecordist list that might be useful in this 
discission about affordable omni mics. Below is a link to a large, 
36mb QuickTime movie comparison including  WM-61a's and the Shure 
183's. Since Dan Dugan pointed out the 183 omni's last Fall, I've 
wanted to compare them (at $200 a pair) to the 4060's. Spec-wise, the 
183's are better but its often said the 4060's out-perform their 
self-noise rating. (Indeed, this might come from better impedance 
matching,.. which would be useful to explore further.)

The 183's are made for use in Shure's wireless transmitters and you 
must buy the parts and do a simple mod: 
http://www.uwm.edu/~type/Mic%20Preamps/ShureWR-183WiringNoTA4M's.jpg
Because of their high output, the 183's seem very well-suited for 
power in plug (PIP) devices like MD and Walkman DAT mic inputs. One 
can run the mic gain considerably lower. The only knock is they do 
overload with very loud sounds but their ability to portray space is 
the best I've encountered for PIP mics (that does not include 
experience with 4060s). Take a look/listen at the noise spectrum the 
183's produces too, I find that much of it in small, very filterable, 
bands just above 8K. Another, lesser known PIP/Battery powered omni 
mic option is the KM-23 by Telinga. I'll be including it in a test in 
the near future.  Sorry that the test is so large, dial-uppers.   Rob 
D.

At the directory, right click the only link that's there to save the 
test to your drive:
http://www.uwm.edu/~type/Mic%20Preamps/Mic&PreTransparencyTests/media/
(QuickTime movie with graphics & 16 bit stereo, no EQ, digital HiMD transfer)

or to load in your browser only:
http://www.uwm.edu/~type/Mic%20Preamps/Mic&PreTransparencyTests/media/TransMic&PreTestsSor3_01.mov





-- 
Rob Danielson
Film Department
University of Wisconsin-Milwaukee

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From ???@??? Mon Apr 25 16:05:10 2005
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there've been a lot of really interesting discussions on the
sonification of data on this list, you might want to google the
archives and check it out.  otherwise, on the mac my favorite two
options are tom erb's soundhack (www.soundhack.com) and chris
penrose's (maybe more poetic) hyperupic
(http://silvertone.princeton.edu/winham/PPSK/hyper.html).

best,
erik

On 4/25/05, Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx> wrote:
> http://audacity.sourceforge.net/
> 
> k:p
> 
> 
> On Apr 25, 2005, at 8:35 AM, under the radar wrote:
> 
> > I'm looking for something that will convert a standard digital image
> > file (.jpe, .gif, etc) into an audio file. Does anyone know of any
> > tools that can be used for that?
> >
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> 
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 
> 


-- 
he can jog: www.hecanjog.com
cedar a.v.: www.cedarav.com
luv sound: www.luvsound.org
please download me: pdm.hecanjog.com

he can jog full length out now on fork series records:
http://www.forkseries.com

Switches comp out  now on Audiobulb Records
http://www.audiobulb.com

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From ???@??? Mon Apr 25 15:48:09 2005
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http://audacity.sourceforge.net/

k:p


On Apr 25, 2005, at 8:35 AM, under the radar wrote:

> I'm looking for something that will convert a standard digital image 
> file (.jpe, .gif, etc) into an audio file. Does anyone know of any 
> tools that can be used for that?
>
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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From ???@??? Mon Apr 25 15:39:08 2005
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On 4/25/05, under the radar <xxxxxx_xxxx@xxxxxxx.xxx> wrote:
> I'm looking for something that will convert a standard digital image file
> (.jpe, .gif, etc) into an audio file. Does anyone know of any tools that can
> be used for that?

You can save the image as a raw format file out of almost any image
processing program eg Photoshop and then load the raw file as a raw
audio file in any sound editing program eg soundforge

I trust that is what you're after
ed

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From: under the radar <xxxxxx_xxxx@xxxxxxx.xxx>
Subject: [microsound] image to sound conversion software
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I'm looking for something that will convert a standard digital image file 
(.jpe, .gif, etc) into an audio file. Does anyone know of any tools that can 
be used for that?



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From ???@??? Mon Apr 25 04:00:27 2005
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From: andrew benson <xxxxxxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] flash tracker - binaural mic
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I agree.  If you look through the digi-key catalog,
just look for panasonic electret microphones.  Look
for a wide frequency response and good signal to
noise.

You can jack these directly into a MD recorder with a
little soldering.  They are pretty tiny, so you'll
have to have a steady hand.  There are a number of
websites that show how to do it.  With a simple bias
circuit you can run it into a laptop too.
It all depends on what your time is worth...

Andrew
--- Joakim Lindén <xxxxxx.xxxxxx@xxxxxx.xx> wrote:
> If they use the Panasonic elements you could easily
> assemble a very good 
> sounding pair for about $10-15 each yourself. I have
> put together a field 
> recording stereo mic myself, very primitive though.
> The only thing available 
> in sweden are Omni-type elements from Panasonic,
> which is not the best 
> option for close sounds, but they have an amazing
> sound quality for such a 
> low price. The MiniDisc player I own (Sharp
> MD-MT190) has a mic input so I 
> can plug them in directly to that without any
> amplification since MD's 
> always supply power through their mic inputs.
> When recording I can easily get a good response up
> to 20khz, the only 
> problem is the ATRAC encoder on my old MD - it
> messes with the high 
> frequencies.
> 
> www.digikey.com is supposed to have a few of these
> elements left. There are 
> others coming that are supposed to replace the
> Panasonic ones, since they 
> where recently discontinued. I found this: 
>
http://www.digikey.com/scripts/dksearch/dksus.dll?Detail?Ref=92255&Row=390913&Site=US
> 
> Someone else probably knows more about where to get
> other capsules in the 
> US.
> 
> 
> 
> ----- Original Message ----- 
> From: "Doran Massey" <xxxxx_xxxxxx@xxxxxxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Sunday, April 24, 2005 8:29 AM
> Subject: Re: [microsound] flash tracker - binaural
> mic
> 
> 
> > Has anyone tried Core-sound's binaural mics?  If
> so, how was the quality?
> > http://www.core-sound.com/mics.html
> >
> > ----- Original Message ----- 
> > From: "vze26m98" <xxxxxxxx@xxxxxxxxx.xxx>
> > To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> > Sent: Saturday, April 23, 2005 11:21 PM
> > Subject: Re: [microsound] flash tracker
> >
> >
> > Joakim Lindén wrote on 4/23/05:
> >
> >>Thanks for the heads up, I wonder what the
> pricetag will say though...
> >>Anyhoot, that is exactly what I've been looking
> for for my electret
> >>mic's - MD just doesn't make the high end spectrum
> shine.
> >
> > <http://www.core-sound.com/pdaudio-cf.html>
> >
> > <xxxxxxxx@xxxxxxxxx.xxx>
> >
> >
>
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> >
> >
> >
>
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> > 
> 
> 
>
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> 

Andrew Benson
www.cloud-machine.com

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From ???@??? Mon Apr 25 03:27:46 2005
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Subject: [microsound] [ann]
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Hi,

   I was going to make an announcement ; tried a quick google search and  
found the results more interesting:







http://www.google.com/search? 
hl=en&client=safari&rls=en&q=microsound+announcements&spell=1
Bill




  direct strategy #2086:


   what did the earthworm say after it was chopped in half?

   "this isn't something i'm really into."


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From ???@??? Sun Apr 24 13:26:18 2005
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Date: Sun, 24 Apr 2005 15:38:44 +0200
From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] flash tracker - binaural mic
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Hi Tad,

vze26m98 wrote:

> One of the many things that differentiate Core Sound is their response
> matching of the microphone pair.

In the end, I did a poor man's capsule matching by comparing the 
resistance of each capsule. I bought a lot of 10, so I could make 3 or 4 
"closely" matched pairs and had a few leftover for experiments. It's not 
as precise as actual frequency matching, but it's enough for the 
situation I use them for, espc considering the preamps and AD converters 
of my Sony minidisc and DAT walkman. I would still use them for group 
projects such as workshops and sound-gathering walks, as they will get 
thrashed in the end anyway, and in the future I will probably invest in 
a substantial pair of DP 4060's, which I could probably get 
frequency-matched by the sellers (at EUR 300-400 I would hope so!).

d.

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 125:
"Only a part, not the whole"

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From ???@??? Sun Apr 24 12:43:13 2005
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Subject: Re: [microsound] flash tracker - binaural mic
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derek holzer wrote on 4/24/05:

>I have also been using Panasonic mic capsules from Digikey. I think the 
>intended purpose of them is for mobile phones. I can't say that the 
>sound quality is on a par with the Core Sound capsules (the high-end 
>ones use a DPA 4060/4061 capsule which you can buy for about EUR 300 

One of the many things that differentiate Core Sound is their response
matching of the microphone pair.

I have a set of the Panasonic binaurals which certainly perform better
than my minidisc recorder.

Don't think you can get Digikey to do that for you.

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Sun Apr 24 10:43:06 2005
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From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] flash tracker - binaural mic
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Howdy,

Joakim Lindén wrote:
 > If they use the Panasonic elements you could easily assemble a very good
 > sounding pair for about $10-15 each yourself.

 > ----- Original Message ----- From: "Doran Massey"
 >> Has anyone tried Core-sound's binaural mics?  If so, how was the 
quality?
 >> http://www.core-sound.com/mics.html


I have also been using Panasonic mic capsules from Digikey. I think the 
intended purpose of them is for mobile phones. I can't say that the 
sound quality is on a par with the Core Sound capsules (the high-end 
ones use a DPA 4060/4061 capsule which you can buy for about EUR 300 per 
capsule), but it's OK. I think the preamp of a minidisc recorder will 
add a substantial amount of noise to any cheap capsule you put into it, 
and I was told by Core-Sound that "plug-in power" is quite a bit noisier 
than Phantom Power (which is what the Core Sound mics use, but which 
eats batteries quickly in the field!).

I use my home-brew setup for ear-mount binaural recording, but I have 
never been able to record as quiet as I want with them. Veteren 
field-recordist David Dunn (who uses tons of homemade contact mikes and 
ultrasound transducers) insists that 90% of noise problems come from 
impedence mismatching, so there is something to be said for carefully 
selecting and assembling your equipment, no matter how expensive or 
inexpensive the components.

best,
derek


-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 14:
"Ask people to work against their better judgement"

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From ???@??? Sun Apr 24 09:23:34 2005
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From: =?UTF-8?Q?Joakim_Lind=C3=A9n?= <xxxxxx.xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] flash tracker - binaural mic
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If they use the Panasonic elements you could easily assemble a very good 
sounding pair for about $10-15 each yourself. I have put together a field 
recording stereo mic myself, very primitive though. The only thing available 
in sweden are Omni-type elements from Panasonic, which is not the best 
option for close sounds, but they have an amazing sound quality for such a 
low price. The MiniDisc player I own (Sharp MD-MT190) has a mic input so I 
can plug them in directly to that without any amplification since MD's 
always supply power through their mic inputs.
When recording I can easily get a good response up to 20khz, the only 
problem is the ATRAC encoder on my old MD - it messes with the high 
frequencies.

www.digikey.com is supposed to have a few of these elements left. There are 
others coming that are supposed to replace the Panasonic ones, since they 
where recently discontinued. I found this: 
http://www.digikey.com/scripts/dksearch/dksus.dll?Detail?Ref=92255&Row=390913&Site=US

Someone else probably knows more about where to get other capsules in the 
US.



----- Original Message ----- 
From: "Doran Massey" <xxxxx_xxxxxx@xxxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, April 24, 2005 8:29 AM
Subject: Re: [microsound] flash tracker - binaural mic


> Has anyone tried Core-sound's binaural mics?  If so, how was the quality?
> http://www.core-sound.com/mics.html
>
> ----- Original Message ----- 
> From: "vze26m98" <xxxxxxxx@xxxxxxxxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Saturday, April 23, 2005 11:21 PM
> Subject: Re: [microsound] flash tracker
>
>
> Joakim Lindén wrote on 4/23/05:
>
>>Thanks for the heads up, I wonder what the pricetag will say though...
>>Anyhoot, that is exactly what I've been looking for for my electret
>>mic's - MD just doesn't make the high end spectrum shine.
>
> <http://www.core-sound.com/pdaudio-cf.html>
>
> <xxxxxxxx@xxxxxxxxx.xxx>
>
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From ???@??? Sun Apr 24 06:29:44 2005
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Has anyone tried Core-sound's binaural mics?  If so, how was the quality?
http://www.core-sound.com/mics.html

----- Original Message ----- 
From: "vze26m98" <xxxxxxxx@xxxxxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, April 23, 2005 11:21 PM
Subject: Re: [microsound] flash tracker


Joakim Lindén wrote on 4/23/05:

>Thanks for the heads up, I wonder what the pricetag will say though...
>Anyhoot, that is exactly what I've been looking for for my electret
>mic's - MD just doesn't make the high end spectrum shine.

<http://www.core-sound.com/pdaudio-cf.html>

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Sun Apr 24 03:21:54 2005
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Joakim Lindén wrote on 4/23/05:

>Thanks for the heads up, I wonder what the pricetag will say though...
>Anyhoot, that is exactly what I've been looking for for my electret
>mic's - MD just doesn't make the high end spectrum shine.

<http://www.core-sound.com/pdaudio-cf.html>

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Sat Apr 23 14:31:19 2005
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From: xxxxxxxxxx@xxxxxx.xxx
Subject: [microsound] PLACARD8 - PROLOGUE2 - MADE.IN.BRATISLAVA 23.04.05
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After PLACARD8 - PROLOGUE1 at Club Transmediale (Berlin)
The non stop streaming placard festival is seting up right now in
Bratislava, at Burundi for an improvised prologue2.

-----------
placard prologue are unidentified public streams spaces teasers for the
upcoming placard headphone festival starting the 1st of june at mutek
(montreal)
-----------

join irc NOW
irc.noweb.org
channel #placard

and check the unstable lineup at
http://aag.leplacard.org:9996/



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--Boundary_(ID_tgba9Hya2K/137UVbzg5Yw)
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In a message dated 23/04/2005 04:56:16 GMT Daylight Time, 
xxxxxxxxx@xxxxxx.xxx writes:

> i second franks comment on STAALPLAT
> 
> http://www.staalplaat.com
> 
> good stuff from amsterdam
> 

 staalplaat moved to berlin a while ago.







"He who has rejected his demons badgers us to death with his angels"
Henri Michaux

www.flickr.com/photos/jpaul23/


--Boundary_(ID_tgba9Hya2K/137UVbzg5Yw)--

From ???@??? Sat Apr 23 08:05:11 2005
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Thanks for the heads up, I wonder what the pricetag will say though... 
Anyhoot, that is exactly what I've been looking for for my electret mic's - 
MD just doesn't make the high end spectrum shine.


----- Original Message ----- 
From: "Kim Cascone" <xxx@xxxxxxxxxxxxx.xxx>
To: "microsound_list" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, April 23, 2005 7:51 AM
Subject: [microsound] flash tracker


> http://sonicstate.com/news/shownews.cfm?newsid=2137
>
> good for location recording
>
>
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From ???@??? Sat Apr 23 06:28:40 2005
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.. . . if it ever materializes. Beware of the vapors.  :)
Jim Lee

Kim Cascone wrote:

> http://sonicstate.com/news/shownews.cfm?newsid=2137
>
> good for location recording
>
-- 

Jim Lee - Bamboo Turtle Studio
http://www.bambooturtle.com

Home of the Rock Nest Monster
http://www.bambooturtle.us/Rock_Nest_Monster.html

Forensic Audio, Group Facilitation,
Sound Art, Sculpture, Photography, and Design. 




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http://sonicstate.com/news/shownews.cfm?newsid=2137

good for location recording


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relocated to Berlin..........no longer on Staalkade
  ----- Original Message ----- 
  From: xxxxxxxxx@xxxxxx.xxx 
  To: xxxxxxxxxx@xxxxxxxxx.xxx 
  Sent: Friday, April 22, 2005 11:55 PM
  Subject: [microsound] Re: AMSTERDAM's sound?:)



  i second franks comment on STAALPLAT

  http://www.staalplaat.com

  good stuff from amsterdam




   --- On Fri 04/22, Frank D'Urso < xxxxxx@xxxxxxx.xxx > wrote:
  From: Frank D'Urso [mailto: xxxxxx@xxxxxxx.xxx]
  To: xxxxxxxxxx@xxxxxxxxx.xxx
  Date: Fri, 22 Apr 2005 23:28:49 -0400
  Subject: [microsound] Re: AMSTERDAM's sound?:)

  Ya,<br><br>I recomend Steele Platte (spelled right?) it is a noise lable and a <br>record store over there.  Their website (you gotta look it up ok?) will <br>list events.<br><br>Frank "love the people" D'Urso<br><br><br>---------------------------------------------------------------------<br>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx<br>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx<br>website: http://www.microsound.org<br><br>

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From ???@??? Sat Apr 23 03:56:08 2005
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i second franks comment on STAALPLAT



http://www.staalplaat.com



good stuff from amsterdam









 --- On Fri 04/22, Frank D'Urso < xxxxxx@xxxxxxx.xxx > wrote:

From: Frank D'Urso [mailto: xxxxxx@xxxxxxx.xxx]

To: xxxxxxxxxx@xxxxxxxxx.xxx

Date: Fri, 22 Apr 2005 23:28:49 -0400

Subject: [microsound] Re: AMSTERDAM's sound?:)



Ya,<br><br>I recomend Steele Platte (spelled right?) it is a noise lable and a <br>record store over there.  Their website (you gotta look it up ok?) will <br>list events.<br><br>Frank "love the people" D'Urso<br><br><br>---------------------------------------------------------------------<br>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx<br>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx<br>website: http://www.microsound.org<br><br>

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From ???@??? Sat Apr 23 03:29:28 2005
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Ya,

I recomend Steele Platte (spelled right?) it is a noise lable and a 
record store over there.  Their website (you gotta look it up ok?) will 
list events.

Frank "love the people" D'Urso


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From ???@??? Fri Apr 22 15:09:14 2005
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Hello,

here's another one :

April 29th 2005, 21:30
Pretty good Privacy
Sébastien Roux & SOGAR / Jürgen Heckel
Concert for the opening of Invisible Script at W139!
Museum Stedelijk, Amsterdam
60 minutes


Best
Jürgen

>
>
> Dear List!
>
>
> Is here anybody from Amsterdam? I'm going to spend some time there.
> If you could recommend me any exhibitions/installations/musical
> events/places with electronic music that would be nice!
> Please write me in private if you don't want to bother the list
> with this kind of messages.
>
>
> Best regards,
> B. Gerofi
>
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From ???@??? Fri Apr 22 11:14:25 2005
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Date: Fri, 22 Apr 2005 12:15:02 +0100
From: Chris O'Shea <xxxxx@xxxxxxxxx.xxx>
Subject: [microsound] opensource pd patch submission
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 FILETIME=[844FC2C0:01C5472C]

Hi

I was wondering if anyone had any PD patches that they would like 
provide for a project I am doing. Although this is very vague, take a 
look here: http://www.offf.ws/prog_openroom.php?tipo=oshea

A website will be up for the project very soon which will explain more.

Basically I am looking for patches that:
- demonstrate a form of sound synthesis, ideally.
- can be used as an instrument by altering values in the patch.
- open source, free to give away on the project website, with full 
credit given to the author (name, url, bio)

I don't need anyone to make a patch as I can do this myself, I am 
looking for existing patches that other artists have made, to 
demonstrate how artists can contribute to the project. You won't need to 
  do anything, just sent me what you have and I'll modify it.

If you have a PD instrument patch that you'd be willing to give away, 
I'd be really grateful if you could email it to me (off the list). Once 
i have the patch working on this project it will be videoed and online.

If you would like any more info, please let me know.

Cheers
-- 
Chris O'Shea

+44(0)7974 968371
me-at-chrisoshea.org

website: www.chrisoshea.org
blog:    www.pixelsumo.com

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From ???@??? Thu Apr 21 16:11:35 2005
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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] call for interested labels
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I am shopping a collaborative CD project that I recently completed with 
Lasse Marhaug
rather than sending out individual emails to the usual suspects I 
thought I'd hit a few lists first
the CD is not untitled yet, is 45 minutes of computer generated 
micro-ambient noise structured soundscapes...or something like that...
if you are interested I can send you a CDR of the material for 
listening *after* I return to the US on May 16th
interested parties contact me off-list at:
xxx@xxxxxxxxxxxxx.xxx
thanks in advance!


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From ???@??? Thu Apr 21 14:24:35 2005
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Date: Thu, 21 Apr 2005 16:24:28 +0200
From: "Remco Bladel, van" <xxxxx@xxxxx.xx>
Subject: Re: [microsound] AMSTERDAM's sound?:)
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Hi B.

Here's something.


Mondaynight april 25th
OT301, Overtoom 301
Kraakgeluiden in binnenstad.

STEIM concert
Theater Frascati
2 May 2005 at 20.30
 Laetitia Sonami
  Michel Waisvisz
  F.X.Randomiz & Joseph Suchy

Best regards,

Remco




Op 21-apr-05 om 16:05 heeft Balazs, Gerofi het volgende geschreven:

>
>
> Dear List!
>
>
> Is here anybody from Amsterdam? I'm going to spend some time there.
> If you could recommend me any exhibitions/installations/musical
> events/places with electronic music that would be nice!
> Please write me in private if you don't want to bother the list
> with this kind of messages.
>
>
> Best regards,
> B. Gerofi
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>
>
--------------------------------
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s' gravenhekje 1a
1011 tg amsterdam
the netherlands
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Dear List!


Is here anybody from Amsterdam? I'm going to spend some time there.
If you could recommend me any exhibitions/installations/musical
events/places with electronic music that would be nice!
Please write me in private if you don't want to bother the list
with this kind of messages.


Best regards,
B. Gerofi

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From: john saylor <xxxxxx@xxxxx.xxx>
Subject: [microsound] texts on twiki
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hi

i took the texts that kim put on the hot line server and put them on the twiki:
http://microsound.nexthop.net/bin/view.cgi/Main/MicrosoundTexts

enjoy!

-- 
\js  [ http://or8.net/~johns/ ]

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From ???@??? Wed Apr 20 16:43:22 2005
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Date: Wed, 20 Apr 2005 18:42:43 +0200
From: COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx>
Subject: [microsound] New Twiki for discussion of technical tools of the trade
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 FILETIME=[F99BC170:01C545C7]

I've added a Twiki page:
http://microsound.nexthop.net/bin/view.cgi/Main/TechProfiles 

Strut on! 

- R 

-----Original Message-----
From: andrew benson [mailto:xxxxxxxxxxxxxx@xxxxx.xxx] 
Sent: 20 April 2005 15:37
To: microsound
Subject: RE: [microsound] (ot?) linux csound

I'd be reluctant to open that sort of thing up on this
list, as it could spark a whole mess of OT rants about
gear and software.  I know people tend to feel
strongly about their software and hardware tools.  If
you are curious, I would suggest searching the list
archives for all the messages regarding Max/Msp,
linux, Pd, ableton Live, ACID, etc.  I for one would
rather avoid the flame war that is liable to occur
when we start showing our gear.
This list, as I understand it, is about discussion of
aesthetics and theory of microsound.
my 2cent.
Andrew
--- COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx>
wrote:
> has there ever been a poll here for seeing what
> systems/applications/hardware everyone on
> .microsound is using for audio
> work?? i'd love to know what range of experience is
> on the list. it
> could be really useful if anyone is considering a
> migration to new
> tools/platforms...  
> 
> - R 
> 
> 
> 
> -----Original Message-----
> From: nathan dickerson [mailto:xxxxxxxxxx@xxxxx.xxx]
> 
> Sent: 18 April 2005 17:57
> To: microsound
> Subject: Re: [microsound] linux csound
> 
> I'm still using csound 4 for linux.. jack is a
> killer feature of csound
> 5, but
> check out 
> 
> http://sourceforge.net/projects/cs-wrappers
> 
> which are jack wrappers for csound 4.. been using
> this to process
> csound (audio(jack rack) and midi(rosegarden))
> 
> nathand
> 
> On 4/18/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
> wrote:
> > http://www.linuxjournal.com/article/8250
> > 
> >
>
---------------------------------------------------------------------
> > To unsubscribe, e-mail:
> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> > 
> > 
> 
> 
> -- 
> http://patternmedia.com/
> 
>
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> 
> 
> 
>
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> 

Andrew Benson
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From ???@??? Wed Apr 20 14:44:49 2005
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 FILETIME=[67FBE3E0:01C545B7]

Okay : ) Points well taken!! I will create a Twiki page as 
soon as I can remember my password, and will invite people
to list their preferred environments over there.

Cheers! - R 


-----Original Message-----
From: andrew benson [mailto:xxxxxxxxxxxxxx@xxxxx.xxx] 
Sent: 20 April 2005 15:37
To: microsound
Subject: RE: [microsound] (ot?) linux csound

I'd be reluctant to open that sort of thing up on this
list, as it could spark a whole mess of OT rants about
gear and software.  I know people tend to feel
strongly about their software and hardware tools.  If
you are curious, I would suggest searching the list
archives for all the messages regarding Max/Msp,
linux, Pd, ableton Live, ACID, etc.  I for one would
rather avoid the flame war that is liable to occur
when we start showing our gear.
This list, as I understand it, is about discussion of
aesthetics and theory of microsound.
my 2cent.
Andrew
--- COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx>
wrote:
> has there ever been a poll here for seeing what
> systems/applications/hardware everyone on
> .microsound is using for audio
> work?? i'd love to know what range of experience is
> on the list. it
> could be really useful if anyone is considering a
> migration to new
> tools/platforms...  
> 
> - R 
> 
> 
> 
> -----Original Message-----
> From: nathan dickerson [mailto:xxxxxxxxxx@xxxxx.xxx]
> 
> Sent: 18 April 2005 17:57
> To: microsound
> Subject: Re: [microsound] linux csound
> 
> I'm still using csound 4 for linux.. jack is a
> killer feature of csound
> 5, but
> check out 
> 
> http://sourceforge.net/projects/cs-wrappers
> 
> which are jack wrappers for csound 4.. been using
> this to process
> csound (audio(jack rack) and midi(rosegarden))
> 
> nathand
> 
> On 4/18/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
> wrote:
> > http://www.linuxjournal.com/article/8250
> > 
> >
>
---------------------------------------------------------------------
> > To unsubscribe, e-mail:
> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> > 
> > 
> 
> 
> -- 
> http://patternmedia.com/
> 
>
---------------------------------------------------------------------
> To unsubscribe, e-mail:
> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 
> 
> 
> 
>
---------------------------------------------------------------------
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> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 
> 

Andrew Benson
www.cloud-machine.com

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From ???@??? Wed Apr 20 14:36:55 2005
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I'd be reluctant to open that sort of thing up on this
list, as it could spark a whole mess of OT rants about
gear and software.  I know people tend to feel
strongly about their software and hardware tools.  If
you are curious, I would suggest searching the list
archives for all the messages regarding Max/Msp,
linux, Pd, ableton Live, ACID, etc.  I for one would
rather avoid the flame war that is liable to occur
when we start showing our gear.
This list, as I understand it, is about discussion of
aesthetics and theory of microsound.
my 2cent.
Andrew
--- COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx>
wrote:
> has there ever been a poll here for seeing what
> systems/applications/hardware everyone on
> .microsound is using for audio
> work?? i'd love to know what range of experience is
> on the list. it
> could be really useful if anyone is considering a
> migration to new
> tools/platforms...  
> 
> - R 
> 
> 
> 
> -----Original Message-----
> From: nathan dickerson [mailto:xxxxxxxxxx@xxxxx.xxx]
> 
> Sent: 18 April 2005 17:57
> To: microsound
> Subject: Re: [microsound] linux csound
> 
> I'm still using csound 4 for linux.. jack is a
> killer feature of csound
> 5, but
> check out 
> 
> http://sourceforge.net/projects/cs-wrappers
> 
> which are jack wrappers for csound 4.. been using
> this to process
> csound (audio(jack rack) and midi(rosegarden))
> 
> nathand
> 
> On 4/18/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
> wrote:
> > http://www.linuxjournal.com/article/8250
> > 
> >
>
---------------------------------------------------------------------
> > To unsubscribe, e-mail:
> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> > 
> > 
> 
> 
> -- 
> http://patternmedia.com/
> 
>
---------------------------------------------------------------------
> To unsubscribe, e-mail:
> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 
> 
> 
> 
>
---------------------------------------------------------------------
> To unsubscribe, e-mail:
> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 
> 

Andrew Benson
www.cloud-machine.com

__________________________________________________
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Tired of spam?  Yahoo! Mail has the best spam protection around 
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From ???@??? Wed Apr 20 13:56:41 2005
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Date: Wed, 20 Apr 2005 16:08:41 +0200
From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] (ot?) linux csound
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This sounds like an excellent topic for the TWIKI page!
I don't think it would be so good to do it on-list, however... lot's of 
traffic that is officially considered OT by many ;-)

Think you want to set it up?
http://microsound.nexthop.net/bin/view.cgi/Main/WebHome

derek


COSTELLOE Richard wrote:
> has there ever been a poll here for seeing what
> systems/applications/hardware everyone on .microsound is using for audio
> work?? i'd love to know what range of experience is on the list. it
> could be really useful if anyone is considering a migration to new
> tools/platforms...  
> 
> - R 
>

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 112:
"Magnify the most difficult details"

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 FILETIME=[345D2D20:01C545A1]

has there ever been a poll here for seeing what
systems/applications/hardware everyone on .microsound is using for audio
work?? i'd love to know what range of experience is on the list. it
could be really useful if anyone is considering a migration to new
tools/platforms...  

- R 



-----Original Message-----
From: nathan dickerson [mailto:xxxxxxxxxx@xxxxx.xxx] 
Sent: 18 April 2005 17:57
To: microsound
Subject: Re: [microsound] linux csound

I'm still using csound 4 for linux.. jack is a killer feature of csound
5, but
check out 

http://sourceforge.net/projects/cs-wrappers

which are jack wrappers for csound 4.. been using this to process
csound (audio(jack rack) and midi(rosegarden))

nathand

On 4/18/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> http://www.linuxjournal.com/article/8250
> 
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From ???@??? Tue Apr 19 20:44:49 2005
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Subject: [microsound] oulipony
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> I said that the writers were
> talented enough and able enough to express their creativity whether 
> oulipo
> existed or not.
possibly, it depends on whether or not they would have been motivated 
to write without the prior existence of Oulipo and hence my pointing 
out all nonlinear systems rely on SDIC...
since most of the Oulipo writers were heavily involved in mathematics 
it is likely more probable that mathematics drove their desire to 
write...
Calvino being an exception here since his writing tended to veer away 
from constraint based systems later in his career


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From ???@??? Tue Apr 19 18:00:44 2005
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You're gonna love this sweetie  !!!!!!   Mwaahhh!!!!!   :o)


On Apr 18, 2005, at 10:00 AM, graham miller wrote:

> http://www.ubercoolische.com/
>
> you too can follow the adventures of richie, magda and ricardo in
> ubercool trendy berlin, epicentre of ableton electronic music, final
> scratchery, and home to the stars of spacebar music.
>
> humour? music? techno? impossible but true.
>
> excelsior
>
> g.
>
> an except:
>
> Ricardo: Hey Richie, its so fucking great being us! You know while the
> lumpen proletariat who thinks there are only 3 dimensions (yes! Only 
> 3!)
> go to do their “jobs” we can be here playing minimalness in this
> Ubercoolische bunker right here in the centre of Ubercoolische 
> Berlin!!!
>
> Richie: Yeah Ricardo I hear you bro! Lets drop another Helmut
> Bumpuscher! Wow! Look at that crowd out there. It is littered with
> outsider-artists and assorted freaks looped into the electronic
> borderlands that form the dystopia that is today’s Berlin!
>
> Magda: That’s what I was just about to say Richie!
>
> Ricardo: Do you see what Im wearing guys?
>
> Richie: A pair of eye glasses?
>
> Ricardo: Nein dumkopf! I am wearing goggles that enable me to view
> through the prism of a dialectical society that’s reinventing logic 
> from
> experience rather than predetermined systems of belief!! Can’t you see?
>
> Magda: Cool! They make you twinkle with innocence and romance Ricardo!
>
> Ricardo: “innocence and romance” is my middle name Magda!
>
> Magda: I thought your middle name was “Corazon de mi alcachofa”.
>
> Ricardo: that was my middle name yesterday Magda ? shouldn’t you be
> making yourself useful and pouring the drinks or something?.........
>
> http://www.ubercoolische.com/ow.asp?RichieRicardoMagdaPartFive
>
>
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Heh.  Richie Hawtin.  Is he still alive?

On 4/18/05, graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> there should definitely be a microsound version of this. who would the
> main characters be? potential plotlines? t-shirt possibilities? sexist
> mugs?
> 
> David Powers wrote:
> 
> > This is quite amusing actually, I saw this last Friday.  My personal
> > favorite "episode"---
> 
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> 


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(((())))(()()((((((((()())))()(((((((())()()())())))
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Subject: Re: [microsound] at last: the minimal techno soap opera
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there should definitely be a microsound version of this. who would the
main characters be? potential plotlines? t-shirt possibilities? sexist
mugs?

David Powers wrote:

> This is quite amusing actually, I saw this last Friday.  My personal
> favorite "episode"---


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From ???@??? Mon Apr 18 17:22:12 2005
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Subject: Re: [microsound] at last: the minimal techno soap opera
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This is quite amusing actually, I saw this last Friday.  My personal
favorite "episode"---

Magda: Hey Richie, do you know that: "Because things are the way they
are, they will not stay the way they are"

Richie: How do you mean Magda?

Magda: Well, Berthold Brecht said that. Does he mean that if things
arent the way they were then they might be something else?

Richie: No Magda, I think he means we should use these laptops and
ipods to make minimal sounds.

Ricardo: Hey Magda, Richie, whats going on?

Magda: Hey Ricardo, we're just talking about Berthold Brecht. Do you
know that he said: "Because things are the way they are, they will not
stay the way they are"??

Ricardo: wow! what a minimal coincidence! I just bought you both a
t-shirt with "Because things are the way they are, they will not stay
the way they are" written all over it!!!

Richie: well what do you know! son of a gun - how fucking cool is it to
be in Berlin?

Magda: pretty fucking cool Richie, pretty fucking cool!

David Powers
Faculty Assistant
DePaul University, School of Education
Department of Leadership in Education, Language, and Human Services
773-325-4806

>>> xxxxxxxxxxxx@xxxxxxxxx.xx 04/18/05 12:00PM >>>
http://www.ubercoolische.com/ 

you too can follow the adventures of richie, magda and ricardo in
ubercool trendy berlin, epicentre of ableton electronic music, final
scratchery, and home to the stars of spacebar music.

humour? music? techno? impossible but true.

excelsior

g.

an except:

Ricardo: Hey Richie, its so fucking great being us! You know while the
lumpen proletariat who thinks there are only 3 dimensions (yes! Only
3!)
go to do their "jobs" we can be here playing minimalness in this
Ubercoolische bunker right here in the centre of Ubercoolische
Berlin!!!

Richie: Yeah Ricardo I hear you bro! Lets drop another Helmut
Bumpuscher! Wow! Look at that crowd out there. It is littered with
outsider-artists and assorted freaks looped into the electronic
borderlands that form the dystopia that is today's Berlin!

Magda: That's what I was just about to say Richie!

Ricardo: Do you see what Im wearing guys?

Richie: A pair of eye glasses?

Ricardo: Nein dumkopf! I am wearing goggles that enable me to view
through the prism of a dialectical society that's reinventing logic
from
experience rather than predetermined systems of belief!! Can't you
see?

Magda: Cool! They make you twinkle with innocence and romance Ricardo!

Ricardo: "innocence and romance" is my middle name Magda!

Magda: I thought your middle name was "Corazon de mi alcachofa".

Ricardo: that was my middle name yesterday Magda ? shouldn't you be
making yourself useful and pouring the drinks or something?.........

http://www.ubercoolische.com/ow.asp?RichieRicardoMagdaPartFive 


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From ???@??? Mon Apr 18 17:01:12 2005
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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] at last: the minimal techno soap opera
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http://www.ubercoolische.com/

you too can follow the adventures of richie, magda and ricardo in
ubercool trendy berlin, epicentre of ableton electronic music, final
scratchery, and home to the stars of spacebar music.

humour? music? techno? impossible but true.

excelsior

g.

an except:

Ricardo: Hey Richie, its so fucking great being us! You know while the
lumpen proletariat who thinks there are only 3 dimensions (yes! Only 3!)
go to do their “jobs” we can be here playing minimalness in this
Ubercoolische bunker right here in the centre of Ubercoolische Berlin!!!

Richie: Yeah Ricardo I hear you bro! Lets drop another Helmut
Bumpuscher! Wow! Look at that crowd out there. It is littered with
outsider-artists and assorted freaks looped into the electronic
borderlands that form the dystopia that is today’s Berlin!

Magda: That’s what I was just about to say Richie!

Ricardo: Do you see what Im wearing guys?

Richie: A pair of eye glasses?

Ricardo: Nein dumkopf! I am wearing goggles that enable me to view
through the prism of a dialectical society that’s reinventing logic from
experience rather than predetermined systems of belief!! Can’t you see?

Magda: Cool! They make you twinkle with innocence and romance Ricardo!

Ricardo: “innocence and romance” is my middle name Magda!

Magda: I thought your middle name was “Corazon de mi alcachofa”.

Ricardo: that was my middle name yesterday Magda ? shouldn’t you be
making yourself useful and pouring the drinks or something?.........

http://www.ubercoolische.com/ow.asp?RichieRicardoMagdaPartFive


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From ???@??? Mon Apr 18 16:57:26 2005
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I'm still using csound 4 for linux.. jack is a killer feature of csound 5, but
check out 

http://sourceforge.net/projects/cs-wrappers

which are jack wrappers for csound 4.. been using this to process
csound (audio(jack rack) and midi(rosegarden))

nathand

On 4/18/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> http://www.linuxjournal.com/article/8250
> 
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-- 
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From ???@??? Mon Apr 18 14:20:00 2005
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 FILETIME=[C868FB60:01C54421]

Would you be so kind as to [ot] these kinds of posts? There's plenty of 
places to read about linux/open source-related stuff, which I already 
read.  They don't seem to be relevant on this list.

On 18 Apr 2005, at 14:57, Kim Cascone wrote:
> http://www.linuxjournal.com/article/8250

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http://www.linuxjournal.com/article/8250


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From ???@??? Mon Apr 18 07:44:26 2005
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In a message dated 15/4/05 8:38:58 pm, xxx@xxxxxxxxxxxxx.xxx writes:

>> I think all of these talents are more
>> than just a one trick pony.
>
>I would say that Oulipo produced many if not all of the work of Perec 
>and Queneau and that you can hardly qualify Oulipo as a one trick 
>pony...Oulipo is actually many systems (of constraints) and has 
>produced some amazing works -- example: Perec's "Life - A Users Manual"
I agree with the amazing works, as you state, but I think you misread my 
post. I didn't say that Oulipo was a one trick pony, I said that the writers were 
talented enough and able enough to express their creativity whether oulipo 
existed or not.
regards
rob

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From ???@??? Mon Apr 18 03:00:50 2005
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scott allison wrote on 4/17/05:

>this may be of some interest, I dug this up based on a posting for
>another similar instrument that someone had posted on another list.
>Bet one of these would be rather difficult to come across these days.
>
>http://www.bigbluewave.co.uk/synths_triadex.htm

Hey Scott-

Thanks. A little hard to tell from the description in Chamberlin book
whether you could build one.  Maybe Minsky still has the schematics?

Best,

Tad

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Mon Apr 18 02:09:21 2005
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Subject: [microsound] 1/89, fibonacci, and other numbers
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If you're into the numbers game, and haven't seen it, this page:

home.earthlink.net/~mrob/pub/math/numbers-6.html

and the other couple of dozen linked pages are worth a look- the properties 
of hundreds of different numbers from the minuscule to the gargantuan, from 
the cult significance of 666 to quantum physics constants to conjectured 
Catalan primes with nearly a googol digits. The 1/89 Fibonacci relation is 
in there, and a lot else besides.

best,
Ian



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 FILETIME=[079515D0:01C5439B]

this may be of some interest, I dug this up based on a posting for another 
similar instrument that someone had posted on another list. Bet one of these 
would be rather difficult to come across these days.

http://www.bigbluewave.co.uk/synths_triadex.htm



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From ???@??? Sun Apr 17 18:52:50 2005
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> This idea of dialectics has been pretty thoroughly disputed.
yeah but it seems that both dialectics and structuralism (as 
philosophical constructs) are making a comeback...I see this as a 
welcome change to the one-joke pony of PoMo...

>  For
> Hegelian and Marxist dialectics, this is true, insofar as dialectical
> progress through history is inevitable.  For later philosophers,
> however, this is not necessarily so.
the statement was directed at the Fuller paraphrase:
>> critique pales next to creating
>> superior
>> alternatives.
I was trying to point out that 'critique without creating an 
alternative' (forget the qualifier of 'superior') is intellectually 
interesting yet toothless...and that often times when a alternative 
comes about one can view it thru a thesis+antithesis=synthesis 
frame...in other words a critique can be seen as the negation of some 
state and an alternative can be seen as the synthesis...


> As I understand it, Horkheimer and Adorno's "Dialectic of
> Enlightenment" was precisely the idea that rational progress can
> dialectically turn into its opposite, irrationality.
yes...but then you have to examine the underlying 
structure/meaning/engine of 'rational progress'  - i.e., capitalism - 
because the roots of 'irrationality' are always there...irrationality, 
turbulence, disruption, or noise are always present to some degree in 
any system and 'rational progress' does not imply (to me) that they are 
not present...

> Or, using evolutionary biology as a model, one could argue that there
> is no such thing as "progress," within evolutionary changes, since
> increasing fitness is only relative to the conditions being adapted to
'increasing fitness to hostile conditions' could very well be a 
definition of 'progress'...could it not?


> and does not have any ultimate value;
it has value to the species or thing that is adapting: 
self-preservation...it also has value to the parasitic organisms that 
benefit from the species continued existence...

> Finally, models from the study of nonlinear and chaotic systems might
> look at change in an entirely different way, based on phase diagrams 
> and
> attractors.
it isn't 'change' that is viewed differently in chaotic systems (since 
we can mathematically describe this) so much as 'long term predictable 
change' or 'recognizable patterns', some/most change is perceived by 
humans as pattern-based; 'any difference that makes a difference' 
(Bateson)...change that is not perceivable to humans is seen as random, 
but not chaotic...

>  I would imagine that the memes in circulation, including
> both critique and superior alternatives, *would structure*
wouldn't it be possible to replace the concept 'would structure' (i.e., 
potential creation) with 'synthesize'?

> the
> possibilities available to a society at any given time in order to go a
> significant mutation in form.
yes, if you want a glaring example look at the shift from a Clinton to 
Bush US...Bush could be seen as the antithesis to Clinton and the 
neo-con cabal we now have is a structure that came about thru a 
'significant mutation' (synthesis?) -- but not thru the will of our 
society necessarily but that is a separate argument w/r/t power 
structures in a society organized by corporate capitalism...

I miss this sort of interesting dialog - thanks for your post! :)


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http://www.geom.uiuc.edu/~rminer/1over89/


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Date: Sat, 16 Apr 2005 23:53:33 -0500
From: grain of sound <xxxx@xxxxxxxxxxxx.xxx>
Subject: [microsound] Sonic Scope Quarterly :: pdf magazine_issue #3
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Sonic Scope Quarterly
for contemporary visual art


[ .pdf magazine ]



issue #3 :: Spring
contains photography, drawings and design work from:




. Seth Nehil

. Achim Wollscheid

. Nuno Barroso

. Autokontrast

. Nathan McNinch

. Tsuji Aiko

. João Ferreira

. Lia

. Vera Machado

. Andrea Guimarães

. João Castro Pinto

. Insert Silence

. Miguel Carvalhais

. Ian Epps

. Bsom




downloadable for free at:
http://www.grainofsound.com







enjoy.
thank you.










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From: Rafa <xxxxxxxx@xx.xxx>
Subject: [microsound] Radio87mhz
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Hi Microsounders!

Radio87mhz is one free radio that solely emits by Internet music and
contents of free diffusion and distribution, under free licenses 
copyleft, creative-commons, etc...

http://www.sindominio.net/radio87mhz

If beams or does music, and publish your works under free licenses type
Creative Commons , distribuis freely like Netlabels , etc. And who
spread to you by Radio87mhz, then:sends small bio, the space where those
archives and more to coun a: xxxxxxxxxx@xxxxxxxxxx.xxx

Still we are constructing this radio in direct, you will be able to
listen to music contents of free diffusion and distribution.

Regards

-----------------------

Que tal?

Radio87Mhz es una radio libre que únicamente emite por Internet música 
y contenidos de libre difusión y distribución, bajo licencias libres
copyleft, 
creative-commons, etc...

http://www.sindominio.net/radio87mhz

Si haces o haceis música, y publicais vuestros trabajos bajo licencias
libres 
tipo Creative Commons y os gustaria que se difundiera por Radio87mhz,
entonces:
mandadnos una pequeña biografia, el espacio donde colgueis esos archivos
y lo 
que querais contar a: xxxxxxxxxx@xxxxxxxxxx.xxx

Aún estamos construyendo esta radio en directo, mientras preparamos una
programación
podrás escuchar contenidos músicales de libre difusión y distribución.

Saludos








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Call for submissions (please forward):

SOUNDSCAPEpgh is a collaborative project of sound installation and 
performance within the downtown Cultural District of Pittsburgh, PA 
from June 3-19, 2005. This project will place soundworks within the 
exterior spaces of this area with a goal of engaging an audience in new 
ways, bringing the experience of the soundscape to a focal point in 
this downtown business district.

We are designing a series of playback systems that will be installed 
throughout this area and are seeking submissions of audio recordings 
for this purpose.  Three primary categories can be considered to suit 
our specific playback systems:
1) two-channel recordings meant for intimate, quiet experience.
2) two-channel recordings intended for louder volume.
3) 5-channel recordings designed for linear separation of speakers 
along a passageway (DVD).

As well, we are very interested in proposals and ideas that do not fall 
within these specific parameters and strongly encourage submissions 
that might stretch these formats. We will be programming a performance 
schedule to be integrated into this two-week period of exhibition and 
encourage proposals for performance that investigate, address or 
explore sound and its relation to the city.

Please email with inquiries and submissions:
xxxxxxxx@xxxxxxxxx.xxx

SOUNDSCAPEpgh
PO Box 99341
Pittsburgh, PA 15233
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they probably just mean "difficult"...maybe i'm just stating the
obvious and you guys are trying to qualify the "difficultness" of the
sounds in one manner rather than another.

is there a certain kind of "difficult" that you prefer over others?
(silly question?)

do you prefer "small" over "difficult" ?  (joke?)

-jake

On 4/15/05, Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx> wrote:
> >> Anyone else think "obtuse sounds" is among the worst possible phrases
> >> to employ when discussing microsound.
> > I see them as being acute...no?
> 
> Quite. A word that can mean dull, blunt, wide and/or lacking
> intelligence seems almost a comically bad choice in this context.
> 
> k:p
> 
>

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graham miller wrote:
>
> http://www.cnn.com/2005/TECH/science/04/14/mit.prank.reut/index.html

I take it that the paper by David Mazieres and Eddie Kohler submitted
to the same conference didn't get accepted.

        http://www.scs.cs.nyu.edu/~dm/remove.pdf

- sekhar

--
C. Ramakrishnan        xxxxxxxxxxxxx@xxx.xxx

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>> Anyone else think "obtuse sounds" is among the worst possible phrases
>> to employ when discussing microsound.
> I see them as being acute...no?

Quite. A word that can mean dull, blunt, wide and/or lacking 
intelligence seems almost a comically bad choice in this context.

k:p
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Yes, I really found this event quite amusing.  But, if you read the
article, it was chosen as an unread submission.  Even still, I parsed
it quickly, and it looked legit!  Is anyone using much context-free
grammar for music nowadays?

~Kyle

On 4/14/05, graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> http://www.cnn.com/2005/TECH/science/04/14/mit.prank.reut/index.html
> 
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-- 
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On Apr 15, 2005, at 3:05 PM, David Powers wrote:

> Hi,
>
> This idea of dialectics has been pretty thoroughly disputed.  For
> Hegelian and Marxist dialectics, this is true, insofar as dialectical
> progress through history is inevitable.  For later philosophers,
> however, this is not necessarily so.
>
> As I understand it, Horkheimer and Adorno's "Dialectic of
> Enlightenment" was precisely the idea that rational progress can
> dialectically turn into its opposite, irrationality.
>
> Or, using evolutionary biology as a model, one could argue that there
> is no such thing as "progress," within evolutionary changes, since
> increasing fitness is only relative to the conditions being adapted to
> and does not have any ultimate value; environmental conditions are
> subject to change, and environmental shifts can turn positive
> evolutionary adaptions into negative ones.
>
> Finally, models from the study of nonlinear and chaotic systems might
> look at change in an entirely different way, based on phase diagrams 
> and
> attractors.  I would imagine that the memes in circulation, including
> both critique and superior alternatives, would structure the
> possibilities available to a society at any given time in order to go a
> significant mutation in form.
>
> ~David

I like fish... fish... I really like fish... oh how I like to eat 
fiiiiiiish...

- John


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From ???@??? Fri Apr 15 19:36:32 2005
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Date: Fri, 15 Apr 2005 15:37:58 -0400
From: Slava Katz <xxxxxxxx@xxxxx.xxx>
Subject: [microsound] Re: two very important questions
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"...the desire to be different is little more than commonplace,
that the indie elite are more numerous than they would perhaps care to
think"

 in a modern world, in which food and shelter are commonplace to many,
individuals seek solace in individuality and uniqueness to obtain proof of
identity and self worth.

this regimental exercise, or, the need to stand out (closely related to
leadership), is constantly reevaluated and balanced with the innate need to
belong (or follow).

imo, music enables the individual/group, listener/broadcaster, to satisfy
these two conflicting needs almost simultaneously. ha.


> Date: Thu, 14 Apr 2005 20:34:01 -0700 (PDT)
> To: xxxxxxxxxx@xxxxxxxxx.xxx
> From: Renick Bell <xxxxxxxxx@xxxxx.xxx>
> Subject: re: two very important questions
> Message-ID: <xxxxxxxxxxxxxx.xxxx.xxxxx@xxxxxxxx.xxxx.xxx.xxxxx.xxx>
>
> A short time googling nets these:
>
> "What is called music today is all too often only a disguise for the
monologue
> of power. However, and this is the supreme irony of it all, never before
have
> musicians tried so hard to communicate with their audience, and never
before
> has that communication been so deceiving. Music now seems hardly more than
a
> somewhat clumsy excuse for the self-glorification of musicians and the
growth
> of a new industrial sector."
>
>     * Jacques Attali Quoted in Classic Essays on Twentieth-Century Music,
ISBN
> 0028645812.
>
> http://en.wikiquote.org/wiki/Power
>
> ---
>
> " In Code: And Other Laws of Cyberspace, Lawrence Lessig warns of
> "architectures of control" that have an increasing capacity to regulate
> behavior (30):
>
>     When you first purchase a book from Amazon.com and establish an
>     account ... Amazon.com's server places an entry in your cookie
>     file. When you return to that site, your browser sends the cookie
>     along with the request for the site; the server can then set your
>     preferences according to your account. Amazon.com can recommend
>     books for you to buy, given the pattern of purchases you have made
>     before. (34)
>
> The very fact that, by recognizing my "type," Amazon can predict what I am
> likely to purchase, suggests that what I perceive as individual choice or
> personal taste is actually part of a more objective social structure. But
> corporations are responsible for creating as well as exploiting such
> structures. One cannot help but recognize with Amazon something of the
> pervasive, mysterious power described by Foucault not as a repressive
force but
> as one that "produces reality; it produces domains of objects and rituals
of
> truth. The individual and the knowledge that may be gained of him belong
to
> this production" (194). For all its proclaimed edginess, indie rock would
> appear to satisfy more than it challenges preexisting social and economic
> structures. As poignantly demonstrated by recent ad campaigns, the desire
for
> otherness, for distinction from the masses (a sentiment coherent with the
> tradition of"culture and society" mapped out by Raymond Williams more than
40
> years ago, and dating perhaps as far back as the Industrial Revolution),
is
> highly marketable. Volkswagen's use of songs by Jay Farrar and Nick Drake;
its
> small group of friends who conscientiously turn away from the party,
preferring
> instead the select company and superior space of their car; the
unanticipated
> sounds of Mogwai on both a Levi's commercial and Sex and the City
episode--all
> these suggest that the desire to be different is little more than
commonplace,
> that the indie elite are more numerous than they would perhaps care to
think."
>
> http://www.findarticles.com/p/articles/mi_m2822/is_1_28/ai_n9507897/pg_10
>
>
> Renick
>
> Renick Bell
> http://www.the3rd2nd.com
>
>
> __________________________________
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whether or not Oulipo's works are truly "amazing" is a
matter for your own endorphins ultimately. from my
perpective, they are highly formalist and finally too
"wet". i mean a joke at the expense of audio here: too
'effected' to be effective. but this is conditioned by
my own sentiments for pasolini's many tentactled
ouevre: the work was an acid upon reality and power
structures, operating not only in the realtively safe
realm of the "fictive". Pasolini lost his life
fighting in the sysytem of systems. Ouliupo falls
under the category of literature as game (ultimately
means: signifiers chasing signifiers, so no ultimate
passion, no struggle---bead game, anyone?--- The
falling out between Calvino and Pasolini (who was one
of C.'s earliest critical supporters) came over which
side of the ashes of Gramsci one's personal word was
to go. To look at Pasolini's final novel ("Petrolio")
however is to find a work that was poised to turn the
academic world inside out by use of it's own machines.
Yet this one small "glitch" work has had minimal
effects, one might add. Are the effects of Oulipo as
gradual as the systems shifts Thomas Kuhn describes
for the conservative contiunuum of science: so slow as
to be almost imperceptible?
 
--- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> > I think all of these talents are more
> > than just a one trick pony.
> 
> I would say that Oulipo produced many if not all of
> the work of Perec 
> and Queneau and that you can hardly qualify Oulipo
> as a one trick 
> pony...Oulipo is actually many systems (of
> constraints) and has 
> produced some amazing works -- example: Perec's
> "Life - A Users Manual"
> 
> 
>
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Subject: Re: [microsound] crit->alternative
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Hi,

This idea of dialectics has been pretty thoroughly disputed.  For
Hegelian and Marxist dialectics, this is true, insofar as dialectical
progress through history is inevitable.  For later philosophers,
however, this is not necessarily so.  

As I understand it, Horkheimer and Adorno's "Dialectic of
Enlightenment" was precisely the idea that rational progress can
dialectically turn into its opposite, irrationality.  

Or, using evolutionary biology as a model, one could argue that there
is no such thing as "progress," within evolutionary changes, since
increasing fitness is only relative to the conditions being adapted to
and does not have any ultimate value; environmental conditions are
subject to change, and environmental shifts can turn positive
evolutionary adaptions into negative ones.  

Finally, models from the study of nonlinear and chaotic systems might
look at change in an entirely different way, based on phase diagrams and
attractors.  I would imagine that the memes in circulation, including
both critique and superior alternatives, would structure the
possibilities available to a society at any given time in order to go a
significant mutation in form.

~David

David Powers
Faculty Assistant
DePaul University, School of Education
Department of Leadership in Education, Language, and Human Services
773-325-4806

>>> xxx@xxxxxxxxxxxxx.xxx 04/15/05 01:21PM >>>
> Buckminster Fuller would say that critique pales next to creating 
> superior
> alternatives.

this might be true if there is no flow from one state (crit) to the 
other (alternatives)...but in a dialectical process the antithesis can

serve as a critique and from this comes a synthesis which can represent

an alternative to the thesis...no?


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--- john saylor <xxxxxx@xxxxx.xxx> wrote:
> after reading 'critical mass' i was struck by his
> thought that we have
> enough to take care of everyone on earth, but we
> just don't distribute
> those resources equitably. and i know that same
> sentiment has been
> said many times in many ways, but his way had math
> to go with it ...

the question is: was his "math" as incorrect as some
have maintained or were the counter-punching
mathematicians already ideologized i.e. dishonest or
working in "bad faith")? those who were (like me)
disappointed by "a beautiful mind" (the film) will see
the repercussions another way. nuclear science has had
a dubious effect on us all--no one doubts however the
key scientists were "geniuses", whereas half the world
still thinks of this particular social scientist as a
dangerous crack-pot

jeff gburek
www.djalma.com


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Subject: Re: [microsound] crit->alternative
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>in a dialectical process the antithesis can serve as a critique and from
>this >comes a synthesis which can represent an alternative to the thesis...
-Seems to me like a normal conversation between grown ups.


AvS

  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................

  `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +

    `  |# -laboratory for live electro-acoustic music- #            |
       |             http://www.schreck.nl/                         |
       |             http://www.xs4all.nl/~schreck/                 |
     ` *===========================================================++
     ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
     ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
     ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
     ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |

     ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |

       *===========================================================++
  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................



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From ???@??? Fri Apr 15 18:36:25 2005
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> I think all of these talents are more
> than just a one trick pony.

I would say that Oulipo produced many if not all of the work of Perec 
and Queneau and that you can hardly qualify Oulipo as a one trick 
pony...Oulipo is actually many systems (of constraints) and has 
produced some amazing works -- example: Perec's "Life - A Users Manual"


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From ???@??? Fri Apr 15 18:28:56 2005
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Date: Fri, 15 Apr 2005 11:28:47 -0700
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] obtuse or acute?
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> Anyone else think "obtuse sounds" is among the worst possible phrases
> to employ when discussing microsound.
I see them as being acute...no?


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> Buckminster Fuller would say that critique pales next to creating 
> superior
> alternatives.

this might be true if there is no flow from one state (crit) to the 
other (alternatives)...but in a dialectical process the antithesis can 
serve as a critique and from this comes a synthesis which can represent 
an alternative to the thesis...no?


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From ???@??? Fri Apr 15 17:55:10 2005
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Date: Fri, 15 Apr 2005 19:55:01 +0200
From: dimitri <xxxxxxx@x-x-x-x.xxx>
Subject: [microsound] Oto Onkyo Radio Show
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Hi everyboby,
Follow oto onkyo via the network at the url [ 
http://82.236.44.208:8000/oto.ogg ]  ( copy/paste it in your audio 
player in the section "open an url").
The show will start at 20h30 (GMT+1) today.

see ya,
Dimitri


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From ???@??? Fri Apr 15 17:48:49 2005
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http://www.linuxdevcenter.com/pub/a/linux/2005/04/14/audacity.html


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>Well, I thinks Kim's point is, in a complex system, you can't take away
>something like algebra and expect ANY aspect of the system to remain the
>same.  I mean, fundamentally, from this point of view, you could argue
>that without algebra, none of us would have been born.  The human race
>and planet might appear totally different.  I would assume that the role
>of algebra in, say, the last 500 years of human history is hardly
>trivial!

http://pespmc1.vub.ac.be/MSTT.html

'Metasystem Transition Theory (MSTT) is the name we have given our
particular cybernetic philosophy. Its most salient concept is, of course,
the Metasystem Transition (MST), the evolutionary process by which higher
levels of complexity and control are generated. But it also includes our
views on philosophical problems, and makes predictions about the possible
future of mankind and life. Our goal is to create, on the basis of
cybernetic concepts, an integrated philosophical system, or "world view",
proposing answers to the most fundamental questions about the world,
ourselves, and our ultimate values.'

AvS

  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................

  `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +

    `  |# -laboratory for live electro-acoustic music- #            |
       |             http://www.schreck.nl/                         |
       |             http://www.xs4all.nl/~schreck/                 |
     ` *===========================================================++
     ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
     ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
     ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
     ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |

     ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |

       *===========================================================++
  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................



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From ???@??? Fri Apr 15 14:20:30 2005
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Well, I thinks Kim's point is, in a complex system, you can't take away
something like algebra and expect ANY aspect of the system to remain the
same.  I mean, fundamentally, from this point of view, you could argue
that without algebra, none of us would have been born.  The human race
and planet might appear totally different.  I would assume that the role
of algebra in, say, the last 500 years of human history is hardly
trivial!

~David

>>> xxxxxxxx@xxx.xxx 04/15/05 04:50AM >>>

In a message dated 14/4/05 4:51:21 pm, xxx@xxxxxxxxxxxxx.xxx writes:

>without OULIPO there wouldn't 
>have been Calvino, Perec, Queneau.
I would ascribe a broader engagement with their craft to all of these
writers 
than just the association with Oulipo. I think all of these talents are
more 
than just a one trick pony.
Without algebra I'm fairly sure that each would still have had
something to 
say.
regards
Rob
::_______________________________________::

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hi

On 4/14/05, Renick Bell <xxxxxxxxx@xxxxx.xxx> wrote:
> Buckminster Fuller would say that critique pales next to creating superior
> alternatives. ("You never change things by fighting the existing reality. To
> change things, build a new model that makes the existing model obsolete.")

i think he was on to something. 

after reading 'critical mass' i was struck by his thought that we have
enough to take care of everyone on earth, but we just don't distribute
those resources equitably. and i know that same sentiment has been
said many times in many ways, but his way had math to go with it ...

-- 
\js  [ http://or8.net/~johns/ ]

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In a message dated 14/4/05 4:51:21 pm, xxx@xxxxxxxxxxxxx.xxx writes:

>without OULIPO there wouldn't 
>have been Calvino, Perec, Queneau.
I would ascribe a broader engagement with their craft to all of these writers 
than just the association with Oulipo. I think all of these talents are more 
than just a one trick pony.
Without algebra I'm fairly sure that each would still have had something to 
say.
regards
Rob
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From ???@??? Fri Apr 15 08:54:36 2005
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Date: Fri, 15 Apr 2005 09:54:23 +0100
From: slow sound system <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] [london] last call : john chantler, function : live,
 sunday
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SLOW SOUND SYSTEM
LIE DOWN AND BE COUNTED

THE FOUNDRY : 17 APRIL 2005 : 3-8PM
-------
'Quality avant chillage' BBCi
'Unadulterated bliss .' RESONANCE FM
-------

AUDIO

John Chantler (Fat Cat / Room40 / Piehead / Hello Square) (aus/uk) : non-place guitar, drums + laptop excursions

'Melody on hammered strings . robust and driven' THE WIRE
'Monoke is the first in a series of essential recordings' THE MILK FACTORY
'Intelligent and subtle . maybe think Tortoise jamming with the Black Dog?' SMALLFISH

+ 

Function / Matt Nicholson (Fat Cat / Hello Square / Wonderground / Love & Mercy) (aus / uk) : mutant pop, microsonics + sleepy drone

'One of this year's most intriguing releases . an ambition to make something entirely new out of a very tired form' THE DEEP END, ABC
'A stunning masterwork of intriguing musical delights' MONO.NET
'A subtle eclectic expansive epic' SCENE

+ 

iMax, Albert (Grain Of Sound, 8Bitrecs, KabukiKore) (uk/fr) : decks + FX
Janek Ropinsky (Hardman Bros, Pop-Up Recs) (d) : flashwerks, digital sublime

------

DETAILS

Sunday 17 April, 3-8pm, free admission
The Foundry, 84-86 Great Eastern St, London, ec2 : 0207 739 6900 :
xxxx@xxxxxxx.xx : www.foundry.tv

xxxx@xxxxxxxxx.xxx
www.slowsound.net

------

CHECK

http://www.inventingzero.net
http://www.functionensemble.com
http://www.pieheadrecords.com 
http://www.room40.org
http://www.kabukikore.net
http://www.8bitrecs.com
http://www.hardmanbros.com
http://www.jayropinsky.kliklak.net

Ends

slow sound system
lie down and be counted

xxxx@xxxxxxxxx.xxx
www.slowsound.net

-----

in league w/ [no.signal] | not clickable | sonomu | highpointlowlife | midrange | frequenzen

-----
-----

new! live sets archive w/motion, recon, crucial felix/timeblind, sebastien roux, adam butler/vert and more
http://www.slowsound.net

'small pieces', every friday on Resonance 101.4fm, midnight-1am GMT
http://www.resonancefm.com

'there is no hidden meaning', out now on kabuki kore
http://www.kabukikore.net

-----
-----

london headphones festival 2004
http://www.state51.org/placard

'midrange sessions', forthcoming on coombe records
http://www.coomberecords.com

slow sound system vs. posset, 'entropy sessions' out now on
kabuki kore
http://www.kabukikore.net

'first steps' out now on grain of sound
http://www.grainofsound.com

imax photogallery : kill yr speed
http://www.lomohomes.com/imax

[no.signal] : promoters of genius
http://no-signal.net

highpointlowlife : bitmpapped indie goodness since 98
http://www.highpointlowlife.com

sprawl club @ charterhouse
http://www.sprawl.org.uk

frequenzen, fortnightly on resonance 104.4fm
http://www.frequenzen.co.uk

sonomu : sound noise music
http://www.sonomu.net

kultureflash : headlines from london
http://www.kultureflash.net

-----

no? reply to this email with 'unsubscribe' in the subject
line.

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From ???@??? Fri Apr 15 07:48:16 2005
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"This love affair with obtuse sounds began for Cascone in early 
adolescence"

Anyone else think "obtuse sounds" is among the worst possible phrases 
to employ when discussing microsound.

k:p


On Apr 13, 2005, at 1:00 PM, Kim Cascone wrote:

> I stumbled across this article which is from a while ago but here is 
> the link anyway:
> http://www.ei-mag.com/archive-cascone.php
> they have a new issue about to come out btw...
> KIM
>
>
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http://www.cnn.com/2005/TECH/science/04/14/mit.prank.reut/index.html


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A short time googling nets these:

"What is called music today is all too often only a disguise for the monologue
of power. However, and this is the supreme irony of it all, never before have
musicians tried so hard to communicate with their audience, and never before
has that communication been so deceiving. Music now seems hardly more than a
somewhat clumsy excuse for the self-glorification of musicians and the growth
of a new industrial sector."

    * Jacques Attali Quoted in Classic Essays on Twentieth-Century Music, ISBN
0028645812.

http://en.wikiquote.org/wiki/Power

---

" In Code: And Other Laws of Cyberspace, Lawrence Lessig warns of
"architectures of control" that have an increasing capacity to regulate
behavior (30):

    When you first purchase a book from Amazon.com and establish an
    account ... Amazon.com's server places an entry in your cookie
    file. When you return to that site, your browser sends the cookie
    along with the request for the site; the server can then set your
    preferences according to your account. Amazon.com can recommend
    books for you to buy, given the pattern of purchases you have made
    before. (34)

The very fact that, by recognizing my "type," Amazon can predict what I am
likely to purchase, suggests that what I perceive as individual choice or
personal taste is actually part of a more objective social structure. But
corporations are responsible for creating as well as exploiting such
structures. One cannot help but recognize with Amazon something of the
pervasive, mysterious power described by Foucault not as a repressive force but
as one that "produces reality; it produces domains of objects and rituals of
truth. The individual and the knowledge that may be gained of him belong to
this production" (194). For all its proclaimed edginess, indie rock would
appear to satisfy more than it challenges preexisting social and economic
structures. As poignantly demonstrated by recent ad campaigns, the desire for
otherness, for distinction from the masses (a sentiment coherent with the
tradition of"culture and society" mapped out by Raymond Williams more than 40
years ago, and dating perhaps as far back as the Industrial Revolution), is
highly marketable. Volkswagen's use of songs by Jay Farrar and Nick Drake; its
small group of friends who conscientiously turn away from the party, preferring
instead the select company and superior space of their car; the unanticipated
sounds of Mogwai on both a Levi's commercial and Sex and the City episode--all
these suggest that the desire to be different is little more than commonplace,
that the indie elite are more numerous than they would perhaps care to think."

http://www.findarticles.com/p/articles/mi_m2822/is_1_28/ai_n9507897/pg_10

---

"Although the Internet has historically been praised as "the world's
largest functioning anarchy," it is rapidly changing as governments
start to regulate it and large corporations get more and more
involved. "The tendency toward decentralization, even in the face of
the enormous concentrations of power in the entertainment and
broadcasting industries, is an exciting and optimistic sign. [...] In
some circles, there is an argument that technology and information
systems invariably decentralize and thus challenge the very powers
that created them. This has a utopian and romantic ring to it" (Roger
Johnson in Computer Music Journal). "The paradox is that there is a
highly personalized, contained art that fits into the confines of a
small screen, and yet that belongs to a global network that relies on
a huge governmental or otherwise bureaucratic entity to support it.
Personal computers may be just that [personal], but the technology
needed to make them talk to one another [...] relies on just the kind
of establishment that networked art is trying to subvert" (Richard
Povall in Computer Music Journal)."

http://amsterdam.nettime.org/Lists-Archives/nettime-l-9805/msg00078.html

---

"Within any given society there may be a variety of sub-codes and conventions,
some of which critique and subvert the dominant codes and conventions. Some
cultural commentators use the Gramscian notion of hegemony to describe the
relationship between dominant cultural practices and resistant counter-cultural
practices. For Gramsci, hegemony refers to the way in which dominant ideologies
circulate in and through societies with fairly strong social stability, such as
British
society, to maintain the moral and intellectual leadership of the ruling class.
In
Gramsci’s model, counter-hegemonic subversive ideologies emanating from
subordinate classes are also allowed to circulate, at least to a degree that
the
dominant classes can bear. The Manic Street Preachers may write songs full of
subversive left-wing lyrics, but they are also a commercial pop band signed up
to
EMI, a company which is happy to allow the band to peddle subversive lyrics as
long as they continue to make money not only for themselves, but also for the
record company."

http://www.ashgate.com/subject_area/downloads/sample_chapters/Indexing_Multimedia_Creative_Works_Ch1.pdf

---

This is ill-considered, but, therefore, pessimistically, the impossibility of
complete subversion? Negativland attempts subversion with U2 and Casey Kasem
and suffers while Bono becomes the moral voice in Switzerland. Dangermouse
grabs Jay-Z, but Jay-Z rides the wave. Neither Bad Religion (and hordes of
others) mashing up Bush's speech to make him say what they believe is on his
mind nor a lot of surplus-wearing leftists and anarchists seem to have
prevented a second Iraq war or a second Bush term.

Buckminster Fuller would say that critique pales next to creating superior
alternatives. (“You never change things by fighting the existing reality. To
change things, build a new model that makes the existing model obsolete.”)
Personally, I'm burnt on pop culture's ironic overload. Take off the gimme caps
already.

Renick

Renick Bell
http://www.the3rd2nd.com


                
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From ???@??? Fri Apr 15 00:32:52 2005
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and this concept itself has been
explored by pauline oliveros with
her scores for improvisation. one
collection of her work is in fact titled
"Software for People." this type of
thing started with stochhausen too,
who published two books of intuitive
music - "fur kommende zeite" and "aus den sieben tagen."

....... Original Message .......
On Thu, 14 Apr 2005 09:00:24 -0700 (PDT) "P. Lasell" <x_xxxxxx@xxxxx.xxx> 
wrote:
> I think music can serve as 'software' for human-beings
___
http://craque.net

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From ???@??? Thu Apr 14 22:06:34 2005
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From: chthonic <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: [microsound] onkyo marathon blog/pictures
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in case anyone's interested...

[4.2.05]
o.blaat
AOKI takamasa
Elliott Sharp
Otomo Yoshihide
Sachiko M + Nobukazu Takemura
Yoshimitsu Ichiraku
Taku Hannoda
Carl Stone

http://echoplex.blogspot.com/2005/04/sounds-of-silence.html


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What's wrong with algebra, anyways?  
--- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> > Sure, but in a world without algebra, poetry would
> probably still be 
> > pretty
> > much the same thing.
> 
> disagree...mostly because of 'sensitive dependence
> on initial 
> conditions'...i.e., remove one small seemingly
> insignificant element 
> from a system and you will have a completely
> different system at some 
> point in time...
> example: without algebra you wouldn't have had the
> Bourbaki; without 
> Bourbaki you wouldn't have had OULIPO; without
> OULIPO there wouldn't 
> have been Calvino, Perec, Queneau...
> as a result poetry might well NOT have been the
> 'same thing'...
> 
> 
>
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> 

Andrew Benson
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--- "Mr.D" <xxxxxx@xxxxxx.xxx> wrote:
> 
> although, i think it is incorrect
> stating that no other discipline talks
> of process the way electronic music
> people do. it's just not as visible,
> perhaps because computers arent
> involved.
> 
 
Not to mention dead wrong.  Virtually every discipline
speaks heavily of process. Ever talk to experimental
film-makers?  Or painters?  

To think that these issues are specific to this
micro-community is pure ignorance.  Remember, John
Cage wasn't just a composer.  

I also think that any critique of an entire genre of
art (conceptual) should be accompanied by an
historical knowledge of the actual producers of such
work and the reasons for doing it.  

andrew

Andrew Benson
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that is the most i could hope for!

(i was actually referring to the more heady
conversations that have been going around - i try not
to theorize my work so much - thanks for putting it
plainly!)

> it means you make music.
> 
> -- 
> \js  [ http://or8.net/~johns/ ]
> 
>
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hi

On 4/14/05, billy <xxxxxxxxxxxx@xxxxx.xxx> wrote:
> i'm not sure what this process "means"....anyone?

it means you make music.

-- 
\js  [ http://or8.net/~johns/ ]

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From ???@??? Thu Apr 14 19:31:58 2005
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i have occasionally worked in a similar fashion.

using readymade materials (pop songs/field recordings
whatever) as a "source" or "guide" for certain aspects
of improvisation.

i also, have been very happy with the results!

my process or treatment of the original material is
loose analysis of the actual audio of the source - and
the final music tends to be quite distant from the
source material.

certainly not a set of instructions or processes (do x
if y, etc) but close....

i feel this way of working allows me to work out my
relationships with other material, and interpret this
relation as music, maybe a bit postmodern when using
"pop song" material.....

i'm not sure what this process "means"....anyone?

sorry, no website!


> on a related and projective note, i think it would
> be interesting to
> see more work using recordings (audio or midi) of
> popular music
> literally as "codes for behavior" - ie instruction
> sets - just as in
> this work i have quite simply translated musical
> objects into a set of
> angles and distances that might as well have been
> drawn in pencil as
> pixel.
> 
> sorry if this doesn't address the questions head-on!
> 
> enjoying the discussion,
> jake
> 
> On 4/13/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
> wrote:
> > - How do musical recordings function as markers of
> power and codes for
> > regimenting behavior?
> > 
> > - Can we sample/alter those recordings to create
> > alternative musical narratives and different
> codes?
> > 
> > I would love to see a microsound TWiki text
> project develop around
> > these two questions...any takers?
> > 
> >
>
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> >
> 
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i'd lke to talk a bit about a project i'm working on right now in
relation to this train of inquiry, and hope that its relevance
outweighs its promotion.

the project is http://structuredsound.net/popsketchseries/

i've taken a set of pop songs and visualized them as line drawings.  a
technical explanation and sourcecode are on the site, but suffice to
say that it's a very simple and shallow visualization of pitch+volume
from midi files.

the output, however, is very complex and has been very pleasing to me.
 principally, what i notice is that the resulting drawings oscillate
between childlike doodles and very regimented, geometric graphs.

the software has effectively divorced these songs from most of their
content - and, i would argue, from the content they bear by which we
actually define them.  i'm not just talking about lyrical content, but
textural and semiotic content (non-verbal references to popular
forms+products).

the visualization or inter-media remixing of these songs, then,
discards those "markers" and "codes" that were present in the original
recordings.  to retrieve these objects as political objects, i've had
to frame them specifically in relation to the original recordings'
existence as "markers" and "codes."  i've tried to capture some of
what might be called the "dishonesty" of this process in my statement
about the work.

on a related and projective note, i think it would be interesting to
see more work using recordings (audio or midi) of popular music
literally as "codes for behavior" - ie instruction sets - just as in
this work i have quite simply translated musical objects into a set of
angles and distances that might as well have been drawn in pencil as
pixel.

sorry if this doesn't address the questions head-on!

enjoying the discussion,
jake

On 4/13/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> - How do musical recordings function as markers of power and codes for
> regimenting behavior?
> 
> - Can we sample/alter those recordings to create
> alternative musical narratives and different codes?
> 
> I would love to see a microsound TWiki text project develop around
> these two questions...any takers?
> 
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From ???@??? Thu Apr 14 18:55:11 2005
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cleaning out studio and have old versions of
Opcode Studio Vision Pro and Pro Tools for OS8/9
these both come in boxes w/manuals and cdroms/floppy discs (remember 
those?)

Sound Forge and 3D Studio Max for Windows95
also come in boxes w/ cdroms and manuals

if interested contact me offlist
need to send them out before next Thursday (I'm leaving for Europe) if 
you're interested!
*taker pays shipping only*
KIM




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From ???@??? Thu Apr 14 18:37:38 2005
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yes. i am just reading village bells, so this brings
to mind role of bells (in this book: france prior to
the revolution) as codings, markers, key aspects of
social time and duration.  On a related note, always
thought you could hear history in how Max Roach plays
certain drum 'phrases' --  how druming was 'deeply'
imbued with powers of the Call  in real
historical/political/social time (a time not without
historical memory, if not at the level of immediate
transparent conciousness).
-Andrew 


To: microsound_list <xxxxxxxxxx@xxxxxxxxx.xxx>
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: two very important questions
Message-Id:
<xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx@xxxxxxxxxxxxx.xxx>

- How do musical recordings function as markers of
power and codes for
regimenting behavior?

- Can we sample/alter those recordings to create
alternative musical narratives and different codes?

I would love to see a microsound TWiki text project
develop around 
these two questions...any takers?


                
__________________________________ 
Do you Yahoo!? 
Yahoo! Mail - Find what you need with new enhanced search. 
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From ???@??? Thu Apr 14 17:02:04 2005
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I was asked to write an essay on the work of Yasunao Tone for a book 
project...I found Tone's claim of having created parasites sans host to 
be interesting and explored his process of creating them while writing 
this piece...
ultimately my essay failed to intersect with the needs of the project 
so I withdrew my piece from it...but I wanted to put a .pdf of the 
essay (which is incomplete as of this moment) on the microsound server 
for those who might be interested since it touches on the concept of 
parasitic systems and noise...
also, I arranged all of my texts into one folder in the 'reading' 
directory on the server for easier access
enjoy!
KIM


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From ???@??? Thu Apr 14 16:23:24 2005
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> > dunno...I dropped out of music school to study
> > privately (and free-ride
> > classes at Parsons and SVA) so perhaps I missed this
> > aspect of
> > academia...
>
> well, "missed" is a relative term....only speaking for
> myself who often wishes to be "missing" certain things....

"The search for and avoidance of sexyness in acedemia; cultural implications
of the bedroom-studio"
by Kim Cascone (editor), Microsound press 2005.

:¬p

Kas.



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> dunno...I dropped out of music school to study
> privately (and free-ride 
> classes at Parsons and SVA) so perhaps I missed this
> aspect of 
> academia...

well, "missed" is a relative term....only speaking for
myself who often wishes to be "missing" certain things....

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From: Alex Young <xxxx@xxxxx.xx.xx>
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 FILETIME=[579FBFE0:01C5410B]

Does anyone else see the irony here?

On 14 Apr 2005, at 16:59, Kim Cascone wrote:
> exactly...the article while flattering - except for the 'rat thing' 
> that John pointed out! ;) - is a clear case of journalism falling into 
> formulaic methods of expressing a particular subject: achieving the 
> proper mix of hyper-reality so that more people buy the magazine...

--
homepage: http://alexyoung.org
music: http://noise.me.uk


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- How do musical recordings function as markers of power and codes for
regimenting behavior?

I think the larger impact of music is in its meta-influence.  Does
musical content inherantly create a sub-culture?  Do particular
sequences of tones, melodies, and percussive elements create a
lifestyle; gangsta hiphop, intelligent dance music, laid back house,
emo.  Yes and no.  I think music serves as cultural signifiers for
musicians and non-musicians alike.  I believe people interpret music in
a few fundamental ways; emotionally, intellectually, physically, and
intuitively (hardly a new concept), and that microsound sits somewhere
between intellectual and intuitive.  Regimented behavior is usually
seen as both the markers of a successful sub-genre (people becoming
interested in, and adopting the mannerisms of the music or the
performers), as well as it's subsequent death due to over proliferation
(over saturation, radio play, 'they-were-much-better-in-92').  It's a
funny contridiction.

- Can we sample/alter those recordings to create alternative musical
narratives and different codes?

I think this happens all the time, but what I see & hear is a watering
down of the original music, as well as the new musics intent.  In my
opinion, if musical culture is continually referencing on itself, the
potential for innovation decreases.  Things become stale and
self-reflexive (much of electronic music is guilty of this these days,
case-in-point: mainstream hiphop, 90% of idm today).  But I don't want
to get into discussing whether there's 'new' music or not.  I read a
recent interview with Black Dog who said that his interest in anarchy
and alternative politics has taken on an extremely subjective nature,
where it's become solely about what he buys, consumes etc.  I think
music can serve as 'software' for human-beings, abstract meta-data, and
that listening to abstract music leads to a more subjective life.  The
mathematical or emotional implications of music can definately transmit
life changing information (ie, coil, t.gristle, plunderphonics, early
techno, celine dion, michael bolton...).  Maybe if the intent of a
musician is clear upon the start of a project (whether it be
mathematical or aesthetic & regardless of production methods), then the
results can intuitively encapsulate the artists original idea clearly
and concisely.  Music is a very efficient human-to-human &
human-to-computer interface.


                
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> "Cascone and other microsound artists have made academia sexy again. "
>
> Is this true Kim? ;)
dunno...I dropped out of music school to study privately (and free-ride 
classes at Parsons and SVA) so perhaps I missed this aspect of 
academia...


> Interesting that even as you talk about music without the need for
> spectacle, journalists seem necessary to talk about it in a spectacular
> way, using descriptions straight out of Rolling Stone.
exactly...the article while flattering - except for the 'rat thing' 
that John pointed out! ;) - is a clear case of journalism falling into 
formulaic methods of expressing a particular subject: achieving the 
proper mix of hyper-reality so that more people buy the magazine...
Adorno turns in his grave


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Lately I've been thinking I've three different poles of music:

+Open arhythmic sound exploration 
+music that manifests or supports a narrative structure
+ritual rhythmic music that relates to dance and induced trance states 


I find all three poles to be interesting for experimentation, and there
are also hybrid music that move between all three poles.

House music obviously falls into the latter category.  While I agree
with what Matt says, at the same time, I would suggest that the program
embedded in some house music may be of a different type than the program
embedded in, say, Top 40 - particularly when there are no lyrics, or
minimal ones, present.  I've spent a lot of time listening to various
world musics, and I've noticed many instances of rhythmic similarities
between certain traditional ritual dance music rhythms and the rhythms
of house/techno intended for the dance floor.

What I particularly wonder is, whether it is possible that certain
tempos and rhythms tend to be more effective in the brain for producing
ritual-trance type states of consciousness.  Thus, house is just
rediscovering a musical possibility that humans have used for ages.  I
think there may be some layers in this experience that aren't just
cultural conditioning.

Culture comes in when we ask what is the "content" or mental experience
that people participating in the ritual have.  In traditional rituals,
the tribal belief program will guide the mental experiences people have
during the ritual.  Likewise, house music has certain typical themes,
relating to Jack, to sexuality, etc.  Techno sometimes uses science
fiction narratives.  Drugs may also influence the type of experience. 
And of course, there are the codes that surround the DJ performance, the
presentation and environment of the event (just being "IN A CLUB" codes
behavior), subcultural memes that are flourishing at the time, and
preconceived notions about what house music means that people bring with
them.

But I wonder if some of the content could in fact be quite variable, or
even open to manipulation, based on the total environment in which the
house music is presented (or other music with rhythms that can
potentially induce trance states - could equally be dub reggae, rock n
roll, hiphop).  What if Sun Ra did house music and took people to other
planets? ;)

All this reminds me of a conversation where Guattari mentions
breakdancing and then the song that cuts up Ronald Reagan
http://www.gpc.edu/~mnunes/guattari.html , search "my fellow
americans" on the page.

Guattari:
  "So, some examples: I don't see why you want me to give
    examples of popular music which are generally
    reterritorializations. However, there is one that immediately
    occurs to me, it's break dancing and music, all these dances
    which are both hyper-territorialized and hyper-corporal, but
    that, at the same time, make us discover spectrums of possible
    utilization, completely unforeseen traits of corporality, and
    that invent a new grace of entirely unheard-of possibilities of
    corporality. I've also been fascinated -- but this isn't popular
    music either -- by Chicago blues, the Chicago school, because
    these monstrous, elephantine instruments like the bass, they
    begin to fly with unheard-of lightness and richness . . ."

~David

David Powers
Faculty Assistant
DePaul University, School of Education
Department of Leadership in Education, Language, and Human Services
773-325-4806

>>> xxxxxx@xxxxxx.xxx 04/14/05 10:01AM >>>
Maybe this is the obvious one,
but house music does this,
specifically the recordings.

They are produced in programmatic
ways, some much moreso than
others. The features they share
not only prescribe a particular tempo
of movement and dance, but also
build and release tension in similar,
predictable, and -matchable- ways.
They control both dancer and DJ to
a considerable degree in many
aspects of the experience.

matt
___
http://craque.net 



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> Sure, but in a world without algebra, poetry would probably still be 
> pretty
> much the same thing.

disagree...mostly because of 'sensitive dependence on initial 
conditions'...i.e., remove one small seemingly insignificant element 
from a system and you will have a completely different system at some 
point in time...
example: without algebra you wouldn't have had the Bourbaki; without 
Bourbaki you wouldn't have had OULIPO; without OULIPO there wouldn't 
have been Calvino, Perec, Queneau...
as a result poetry might well NOT have been the 'same thing'...


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hi

On 4/14/05, COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx> wrote:
> not that executives at big record companies and, er, clearchannel, are
> out to set the agendas and directions for our culture at large (?!), but
> they seem to be very well practiced at supporting and propagating
> specific aspects of it.

and it is mostly those aspects that generate revenue for them that
they support and propagate. in fact, that is the whole point of
american mass media culture- to increase shareholder value.

the occupation of iraq is to make money.

> the big question doesn't
> strike me as whether or not it's possible to create alternative musical
> narratives, or even how you would got about this, but rather how would
> you make these narratives at all effective?? 

how do you measure 'effectiveness'?  
- revenue
- popularity
- aesthetic impact
- originality

what is the time scale to measure on?

-- 
\js  [ http://or8.net/~johns/ ]

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i guess i need to read this sound on
sound interview. i like autechre,
however criticised and heavily
imitated.

although, i think it is incorrect
stating that no other discipline talks
of process the way electronic music
people do. it's just not as visible,
perhaps because computers arent
involved.

m
___
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 FILETIME=[28BD0CC0:01C54104]

can you explain what's implied by "markers of power" & "power
structures"? 
is the context socio-political, or in regard to music theory? 

if the latter, please ignore this email ; )

if the former... 

music in our culture is obviously a huge part of the very conscious and
refined practice of spreading/enforcing cultural memes, styles, norms
and associated products. regimenting behaviour is an extension of this,
especially with the young, impressionable and those who just want to
stay
cool! 
 
further, popular music that seems to work into this becomes popular by
no small coincidence. 

not that executives at big record companies and, er, clearchannel, are
out to set the agendas and directions for our culture at large (?!), but
they seem to be very well practiced at supporting and propagating
specific aspects of it. 

studying tv/radio-programming trends and the narratives of 'top selling'
hits may or may not reveal latent support of seemingly unrelated
(political) events such as, say, invading iraq. but at least in america
the relationship between those who are creating/spreading popular music
and those who have physical power seems to be getting closer and closer.
the same could be argued for those who are pushing commercial aspects of
cultural power such as food, clothing, and basically whatever you're
seeing britney's face plastered on this week. 

if this is true... because these systems are consciously created, they
can of course be consciously subverted. but the big question doesn't
strike me as whether or not it's possible to create alternative musical
narratives, or even how you would got about this, but rather how would
you make these narratives at all effective?? we're creating ripples in a
stormy ocean. 


"Percentage of songs on Billboard's Top 20 list during 2004 whose lyrics
mention at least one brand name: 40" - Harpers.org

"I want to be the song that you hear in your head " - Bono


- Richard 

(and with tongue firmly placed in cheek: http://www.iinion.net/str8.mp3)





>...yes fortean (sorry for the spellerzz) and other methods do 
> keep music and power structures separate...

>... How do musical recordings function as markers of power
> and codes for regimenting behavior...


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 FILETIME=[9B35AA60:01C54103]


Kim Cascone wrote:
--> this reminds me of a cartoon from old issue of the New Yorker magazine:
a line drawing of a very poorly built house is shown with different lengths 
of wood beams, no correct angles, nothing fitting properly, a complete 
shambles and the caption to the cartoon reads: "a world without algebra"  
<--

Sure, but in a world without algebra, poetry would probably still be pretty 
much the same thing. Analogies between music and architecture (or poetry, or 
language, or cooking) are often made, but if they illuminate some aspects of 
music, they ignore or obscure others. Personally I find the greatest 
relevance in analogies with other artforms which control time, such as 
experimental film; Brakhage's films come closer to what I understand music 
to be than any other 'non-musical' expression.

best,
Ian



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i'll give it a shot...

....... Original Message .......
On Wed, 13 Apr 2005 10:12:52 -0700 Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> 
wrote:
>- How do musical recordings function as markers of power and codes for
>regimenting behavior?

Maybe this is the obvious one,
but house music does this,
specifically the recordings.

They are produced in programmatic
ways, some much moreso than
others. The features they share
not only prescribe a particular tempo
of movement and dance, but also
build and release tension in similar,
predictable, and -matchable- ways.
They control both dancer and DJ to
a considerable degree in many
aspects of the experience.

>- Can we sample/alter those recordings to create
>alternative musical narratives and different codes?

Most certainly, some already have,
but many that do tend to appear
in the same landscape, so the end
result is the same.

More generally, i can see these
questions directed at consumerist
music, where the control of forces
like the record industry are
prescribing what people hear, and
effectively what they desire.

Considering the nature of the
intended audience, methods of
reworking things may bring cheers
from some and scorn from most.
It would definitely change their
perception of what's happening,
and may even influence their
listening.

I hope I am not oversimplifying
what I agree are very important
questions!

matt
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cage was also inspired
by rauschenberg's white paintings
displayed at black mountain college,
noticing how the dust created shadow
and texture on a neutral ground.

i have never felt that cage
has ever been a 'conceptual artist'.
his work was ultimately practical,
and his methods inspired by
immediacy and circumstance.

i think people misunderstand cage
because of the influence he had,
and come to his music with too
much of this conceptual baggage.
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 FILETIME=[196B5E10:01C540F1]

CYRK.
--------------------------------------------------------------------------------------

SLUB -

Slub sound emerges from slub software; melodic and chordal studies, 
generative experiments and beat processes.
process-based sonic improvisations; live generative music using hand-crafted 
Macintosh and Unix applications (in networked synchrony). With roots in UK 
electronica and tech culture, slub build their own software environments for 
creating music in realtime. Only custom composition and DSP software is 
used. Everything you hear is formed by human minds.

Slub have performed throughout Europe and the U.K and have released their 
music through the fals.ch mp3 label - http://fals.ch/f4ls_02/d!_mAIx.php. 
8bitrecs - http://8bitrecs.com/ and fallt - http://www.fallt.com/

For CYRK, slub will be presenting a live audio/visual performance.

http://www.slub.org/

--------------------------------------------------------------------------------------

COUNT (cyrk) -

Hand made modular synthesis, purring broken techno, gaussian drones, 
arpeggiated arrhythms, next generation computer music, live 
sound-organization.

For CYRK, Edinburgh based artist Count will perform using self built live 
audio processing software.

--------------------------------------------------------------------------------------

MATTHEW ABREY -

Microtonal drones, phase interference & ‘70s bicycles.

From a background in cassette tape manipulation, circuit bending, delay 
lines and feedback. Matt's work has developed and he has since used 
spectralism as a process by which to explore the basic nature of 
environmental and instrumental sound. ''Spectralism provides a means by 
which I can explore the properties of a sound source without being 
necessarily bound to its physical origin''.
Recent work has included algorithmic, generative music systems and the 
processing of instrumental sound, a digital development of his initial tape 
construction methods.

For CYRK, Matthew will perform an audio/visual performance of extended 
drones and 70's bicycle video.

http://www.sonicarts.co.uk/abrey_para.mp3

--------------------------------------------------------------------------------------

DJ WRONGSPEED (Resonance fm)

For CYRK, Dj Wrongspeed is the invited Guest DJ.

http://www.londonsoundscape.net/redzeroradio/archive_resistance.html

http://www.resonancefm.com/pflava.htm

--------------------------------------------------------------------------------------

+ CYRK DJ's

Your CYRK host and compere for the evening will be RICHARD THOMAS 
(Banality-Resonance fm)

--------------------------------------------------------------------------------------

CYRK.
Tuesday 19th April 2005. 19:30pm - 01:00am
@bardens boudoir 38-44 Stoke Newington Road,London N16
http://www.bardensbar.co.uk/

£3.£5 after 11.

info- xxxx@xxxxxxxxxx.xxx

[/url][/b]

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I dont see that i say that, no. Any tool is subject to this phenomenon.

....... Original Message .......
On Wed, 13 Apr 2005 18:45:20 +0200 "Kassen" <xxxxxx@xxxxxx.xxxx.xx> wrote:
>From: Mr.D
>
>
>> The comments about programs like Live and Reason can be
>> pessimistically accurate considering that one reason people buy it is
>> because they know so-and-so uses it, and they already want to be
>> pigeonholed before they even start up the application.
>
>
>And you are saying that the same phenomenon does not affect the PD/ SC/ 
MAX/
>Csound/ etc crowd? By the comments on this list I would asume the people
>using those identify with their program of choice much more then Live users
>do. After the most recent Sound on Sound article on Autechre I saw a lot of
>posts on boards about MAX from people who now wanted to get into it, after
>reading AE used it too.....
>
>Yours,
>Kas.
>
>
>
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Date: Wed, 13 Apr 2005 19:29:08 -0400
From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Programmed DNA forms Fractal...
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Courtesy of the very smart folks (numberr) at the #dataflow channel:

<http://www.trnmag.com/Stories/2005/040605/
Programmed_DNA_forms_fractal_040605.html>

or better yet:

<http://biology.plosjournals.org/perlserv/?request=get-toc&issn=1545-
7885&volume=2&issue=12>

<xxxxxxxx@xxxxxxxxx.xxx>

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yes fortean (sorry for the spellerzz) and other methods do keep music and
power structures separate, i just personally find it a bit dull when that
is the case. i think its more interesting when a wider framing of a piece
is taken in consideration.


> I think that, for the most part, musical theory ( I assume you meant
> fortean
> set theory ?) and power structures aren¹t related...maybe they¹ve gotten a
> bit closer at times, but I think they¹re fairly distinct.
>
>
> On 4/13/05 5:04 PM, "W.C Schrimshaw" <x.x.xxxxxxxxxx@xxxxxxxxx.xx.xx>
> wrote:
>
>>
>>
>>
>>>> - How do musical recordings function as markers of power and codes for
>>>> regimenting behavior?
>>
>> michael trommer;
>>> I don't think this has anything to do with the music itself, but rather
>>> with
>>> its distribution and dissemination.
>>
>> perhaps, but after studying Fortian set theory or Schenkerian analysis,
>> you realise you really need this stuff to make an analysis come close to
>> meaning anything. analysing 'the music itself' (if that's entirely
>> possible i'm not sure) leaves too much behind. (do you think?)
>>
>>
>> http://www.altho.org
>> arts community
>>
>>
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>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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>> website: http://www.microsound.org
>
>


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I think that, for the most part, musical theory ( I assume you meant fortean
set theory ?) and power structures aren¹t related...maybe they¹ve gotten a
bit closer at times, but I think they¹re fairly distinct.


On 4/13/05 5:04 PM, "W.C Schrimshaw" <x.x.xxxxxxxxxx@xxxxxxxxx.xx.xx> wrote:

> 
> 
> 
>>> - How do musical recordings function as markers of power and codes for
>>> regimenting behavior?
> 
> michael trommer;
>> I don't think this has anything to do with the music itself, but rather
>> with
>> its distribution and dissemination.
> 
> perhaps, but after studying Fortian set theory or Schenkerian analysis,
> you realise you really need this stuff to make an analysis come close to
> meaning anything. analysing 'the music itself' (if that's entirely
> possible i'm not sure) leaves too much behind. (do you think?)
> 
> 
> http://www.altho.org
> arts community
> 
> 
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org

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ONDA SONORA, Madrid (ES)

·Radio Círculo de Bellas Artes 100.4 FM 

 Miércoles/Wednesday 15h -www.circulobellasartes.com

·Radio Autónoma 88.8 FM

 Mie-Sab/Wed-Sat 16h -www.uam.es/ra

·Listen live real time -www.ondasonoraradio.com

_________________________________

 

CONTENTS ONDA SONORA 13/04/05

 

01.THOMAS DIMUZIO

Track: Never Steven

Album: Slew

Label: ReR Megacorp 

 

Compositor, multi-instrumentista y diseñador de sonidos electrónicos que lleva trabajando desde finales de los 80 con drones. Thomas Dimuzio reside desde hace unos años en la bahía de San Francisco, dedicándose a producir librerías de sonidos, trabajando con artistas como Negativland, Wobbly,  Matmos o Fred Frith, entre muchos otros y creando piezas que han ido apareciendo en diferentes discos y compilaciones. "Slew", su lanzamiento más reciente a través del sello ReR, recoge todo este material aparecido anteriormente en ediciones de RRRecords, Tzadik o Alku, entre otros sellos

 

Composer, multi-instrumentist and electronic sound designer working from the last 80s with drones. Thomas Dimuzio resides in the San Francisco Bay dedicated to produce sound libraries, working with artists such as Negativland, Wobbly,  Matmos or Fred Frith, between others, and creating pieces for some records and compilations. "Slew", his most recent release in the ReR label, collects all this previous material from compilation releases of labels as RRRecords, Tzadik or Alku

 

02. BJ NILSEN

Track:  Live In La Petite Chapelle, Rues Basses

Album: VA Spire Live at St. Pierre Cathedral

Label: Touch 

 

Segunda referencia en las Spire series del sello británico Touch, dedicadas al órgano, que en esta ocasión documentan el festival La Batie, celebrado en la ciudad suiza de Ginebra el año pasado, en el entorno de su Catedral de San Pedro, punto crucial de la Reforma Protestante del siglo XVI. Allí se reunieron varias obras de compositores clásicos de órgano en el órgano principal de la catedral junto a las creaciones de varios artistas experimentales de la actualidad, como Philip Jeck, Fennesz o BJNilsen, artista sueco al que conocíamos por sus trabajos como Hazard y que hace poco publicaba, también en Touch, su último disco

 

Second reference in Touch's Spire series, dedicated to the organ, in this occasion documenting La Batie festival, which took place last year in the Swiss city of Geneva, in the environment of its Saint Pierre's Cathedral, a crucial point in the XVI century during the Protestant Reform. Featuring several works of classic organ composers in the main Cathedral organ together with the creations of several experimental artists of the present: Philip Jeck, Fennesz or BJNilsen, a Swedish artist known for his works as Hazard who recently released, also in Touch, his last work

 

03. REC_OVERFLOW

Track: Organico

Album: Madrid

Label: spa.RK 

 

Una muestra de "Madrid", el debut en largo del madrileño Rec_Overflow en el sello barcelonés spa.RK, música electrónica de nuestro tiempo  que tendrá presentación en Madrid, el próximo viernes 29 de abril en el Museo de la Música Electrónica

 

A sample from "Madrid", long format debut for Madrid artist Rec_Overflow, in the Barcelona label spa.RK, electronic music of our time that will have its presentation in Madrid, next Friday 29th of April in the Museo de la Musica Electronica

 

04. ULTRALYD

Track: Beautor / Glottality

Album: Chromosome Gun

Label: Load 

 

Nueva formación de vanguardia procedente de Noruega, que utiliza instrumentos de las tradiciones rock y jazz (bajo, saxo, clarinete, guitarra eléctrica y batería) para crear experiencias sonoras enérgicas y desafinadas. Escucharemos mezcladas dos de estas siete composiciones publicadas desde los Estados Unidos por el sello Load Records con el nombre conjunto de "Chromosome Gun"

 

New avant-garde formation coming from Norway, that use instruments from the rock and jazz traditions (bass, saxo, clarinet, electric guitar and drums) to create energetic and detuned sound experiences. A mix of two of these seven compositions published from the United States by Loud Records in a record entitled "Chromosome Gun"

 

05. GIUSEPPE IELASI

Track: 2

Album: Gesini

Label: Häpna 

 

Nuevo trabajo en solitario del italiano Giuseppe Ielasi, guitarrista y músico electrónico de vocación experimental al que conocemos no sólo por sus anteriores trabajos en solitario, sino también por sus colaboraciones con Dean Roberts y en contextos más cercanos a la improvisación. "Gesini" es el título de esta obra tranquila pero inquietante que edita el sello sueco Häpna

 

New solo work by the Italian artist Giuseppe Ielasi, guitarist and electronic musician with an experimental vocation known not only for his previous works, but also for his collaborations with Dean Roberts and in contexts closer to improvisation. "Gesini" is the title of this calm but disturbing work released in the Swedish label Häpna

 

06. PITA

Track:  Like watching shit on a shelf

Album: Get Off

Label: Häpna 

 

Nos despedimos desde el sello sueco Häpna con uno de los cortes del álbum "Get Off" del alemán Peter Rehberg, Pita, que actúa en Madrid este viernes día 15 en el marco de la 3ª edición del ciclo Electrónica en Abril, que tendrá lugar este fin de semana en La Casa Encendida con las actuaciones de Pita, Team Shadetek y Cobra Killer, el viernes, Niobe, Jimmy Edgar y Christian Vogel, el sábado y Murcof, Thomas Fehlmann y Paul Kalkbrenner, el domingo. Te dejamos con una muestra del 4º álbum de Peter Rehberg, uno de los directores del sello austríaco Mego

 

We finish in the Swedish label Häpna with one of the tracks of the "Get Off" album by the German artist Peter Rehberg, Pita, who will perform in Madrid this Friday 15th of April in the context of the 3rd edition of the cycle Electronica en Abril, that will take place this weekend in La Casa Encendida with the performances of Pita himself, Team Shadetek and Cobra Killer (on Friday), Niobe, Jimmy Edgar and Christian Vogel (on Saturday) and Murcof, Thomas Fehlmann and Paul Kalkbrenner (on Sunday). We leave you with a sample from the 4th album by Peter Rehberg, one of the managers of the Austrian label Mego

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>> - How do musical recordings function as markers of power and codes for
>> regimenting behavior?

michael trommer;
> I don't think this has anything to do with the music itself, but rather
> with
> its distribution and dissemination.

perhaps, but after studying Fortian set theory or Schenkerian analysis,
you realise you really need this stuff to make an analysis come close to
meaning anything. analysing 'the music itself' (if that's entirely
possible i'm not sure) leaves too much behind. (do you think?)


http://www.altho.org
arts community


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From ???@??? Wed Apr 13 20:55:42 2005
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On 4/13/05 1:12 PM, "Kim Cascone" <xxx@xxxxxxxxxxxxx.xxx> wrote:

> - How do musical recordings function as markers of power and codes for
> regimenting behavior?

I don't think this has anything to do with the music itself, but rather with
its distribution and dissemination. 


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i've got to get darren to write my press releases!

> I stumbled across this article which is from a while ago but here is 
> the link anyway:
> http://www.ei-mag.com/archive-cascone.php
> they have a new issue about to come out btw...
> KIM

bruce tovsky
www.skeletonhome.com

"Sometimes the appropriate response to reality is to go insane."
Philip K. Dick
On Apr 13, 2005, at 4:00 PM, Kim Cascone wrote:

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From the article:

"Cascone and other microsound artists have made academia sexy again. "

Is this true Kim? ;)

Interesting that even as you talk about music without the need for
spectacle, journalists seem necessary to talk about it in a spectacular
way, using descriptions straight out of Rolling Stone.

~David

David Powers
Faculty Assistant
DePaul University, School of Education
Department of Leadership in Education, Language, and Human Services
773-325-4806

>>> xxx@xxxxxxxxxxxxx.xxx 04/13/05 03:00PM >>>
I stumbled across this article which is from a while ago but here is 
the link anyway:
http://www.ei-mag.com/archive-cascone.php 
they have a new issue about to come out btw...
KIM


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From ???@??? Wed Apr 13 20:09:50 2005
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hi

On 4/13/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> http://www.ei-mag.com/archive-cascone.php

"Cascone alters the sonic language, producing an extraordinarily
detailed nanomusic that brings back memories of '60s lab-rats cackling
with glee as they fired up their first electrically-engorged modules."

hmm ...

i *guess* that's a compliment [but usually saying your music sounds
like rats made it is not so positive ...]

-- 
\js  [ http://or8.net/~johns/ ]

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I stumbled across this article which is from a while ago but here is 
the link anyway:
http://www.ei-mag.com/archive-cascone.php
they have a new issue about to come out btw...
KIM


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On Apr 12, 2005, at 4:15 PM, David Powers wrote:

> Yes, but sometimes certain mathematical processes create aesthetically
> interesting sounds.  There are plenty of serial pieces that sound good
> to my ears, and I don't have to be aware of the math, as a listener.
> However, the math does matter in a sense, if the composer did not use
> that mathematical process, the piece wouldn't sound that way, and thus 
> I
> as a listener would never have the pleasure of experiencing that
> particular sound.  The math does not JUSTIFY the piece as being
> aesthetically pleasing, but it is a necessary moment in creating that
> piece.

That's a tough one... I think that, in the right context, math /could/ 
enhance the aesthetic value of a piece (phrases like 'aesthetic value' 
and 'aesthetically pleasing' are loaded, and difficult to get a handle 
on, but lets pretend for the moment they're not...). It's not a 
particularly foreign idea that extra-musical meaning can enhance, 
alter, or even fundamentally make up the experience of music. 
Historically, one can think of programmatic works of music that are 
heavily dependent on, for example, a text, story, painting, etc. Good 
knowledge of this text/story/painting/etc. is going to change our 
aesthetic engagement with the work, potentially at a very deep level. 
Can we consider, for example, a Xenakis piece somehow programmatic, 
insofar as it might be about some kind of mathematical expression or 
process? Will a good grasp of the mathematics in use, at an intuitive 
level, enhance/change out experience of the piece? This certainly 
seemed to be the case with some serial music... the aesthetic value 
didn't lie in the sounds produced, or the notes, but somewhere in 
between these and the system being used to produce them. I'm sure 
plenty of serialist composers had plenty of powerful experiences with 
other serial works (even if they sounded like shit to the layperson). 
I'm certainly not advocating any kind of /reliance/ on extra-musical 
meaning to justify or complete the piece, but it happens all the time, 
and is probably, in some sense, unavoidable. Am I making sense?


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From ???@??? Wed Apr 13 18:46:53 2005
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Kim Cascone wrote:
> - How do musical recordings function as markers of power and codes for
> regimenting behavior?
> 
> - Can we sample/alter those recordings to create
> alternative musical narratives and different codes?
> 
> 
> I would love to see a microsound TWiki text project develop around these 
> two questions...any takers?

I'd be well up for it - I think my disseration is going to have to cover 
some of that ground anyway, so I'll try and post stuff up as I explore 
the territory...

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From ???@??? Wed Apr 13 18:11:58 2005
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From: Sergio Luque <xxxx@xxxxxxxxxxx.xxx>
Subject: [microsound] Coin Sampler
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http://www.varal.org/media/coinsampler/index.html

 From the website: "The Coin Sampler is a simple audio sampler that I 
came up with. It has 4 infra-red sensors and 4 infra-red LEDs. When 
something reflective goes by each LED/sensor combo a signal is sent for 
the computer to play a sample."

Check out the videos!



--
Sergio
http://www.sergioluque.com


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ouch!

On Apr 13, 2005, at 12:55 PM, Kim Cascone wrote:

>> boy, sometimes i wish people would just stop thinking
>> so much...
> hmmm...be careful what you wish for! we got Bush didn't we? ;)


bruce tovsky
www.skeletonhome.com

"Sometimes the appropriate response to reality is to go insane."
Philip K. Dick
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humans

On Apr 13, 2005, at 1:09 PM, Kim Cascone wrote:

>> What is the
>> relationship between digital music and the natural world?
> mathematics
>
>
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www.seasonalbk.net
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> I think the case that needs to be proved
> is that mathematics is somehow relevant to the aural experience and the
> perception of music, form, structure, etc.
this reminds me of a cartoon from old issue of the New Yorker magazine:
a line drawing of a very poorly built house is shown with different 
lengths of wood beams, no correct angles, nothing fitting properly, a 
complete shambles and the caption to the cartoon reads: "a world 
without algebra"




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Subject: Re: [microsound] two very important questions
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absolutely, in a month or so when i've finished this degree.

> - How do musical recordings function as markers of power and codes for
> regimenting behavior?
>
> - Can we sample/alter those recordings to create
> alternative musical narratives and different codes?
>
>
> I would love to see a microsound TWiki text project develop around
> these two questions...any takers?
>
>
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>


http://www.altho.org
arts community


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- How do musical recordings function as markers of power and codes for
regimenting behavior?

- Can we sample/alter those recordings to create
alternative musical narratives and different codes?


I would love to see a microsound TWiki text project develop around 
these two questions...any takers?


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From ???@??? Wed Apr 13 17:09:51 2005
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Subject: [microsound] mold vs memorex
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> What is the
> relationship between digital music and the natural world?
mathematics


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From ???@??? Wed Apr 13 16:55:48 2005
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Subject: [microsound] thinking about your post
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> boy, sometimes i wish people would just stop thinking
> so much...
hmmm...be careful what you wish for! we got Bush didn't we? ;)


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From: Mr.D


> The comments about programs like Live and Reason can be
> pessimistically accurate considering that one reason people buy it is
> because they know so-and-so uses it, and they already want to be
> pigeonholed before they even start up the application.


And you are saying that the same phenomenon does not affect the PD/ SC/ MAX/
Csound/ etc crowd? By the comments on this list I would asume the people
using those identify with their program of choice much more then Live users
do. After the most recent Sound on Sound article on Autechre I saw a lot of
posts on boards about MAX from people who now wanted to get into it, after
reading AE used it too.....

Yours,
Kas.



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>We are constantly affronted by GUIs and mechanisms which help us work,
-Tell that to the Max-people, they'll love to hear that!

>A lot of options don't allow for flexibility and adaptation, and push
>the user into one mode of working and one way of thinking about
>problems.
-Data tunnel vision?

>The comments about programs like Live and Reason can be
>pessimistically accurate considering that one reason people buy it is
>because they know so-and-so uses it, and they already want to be
>pigeonholed before they even start up the application.
-Lobotomy development scheme?

AvS

  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................

  `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +

    `  |# -laboratory for live electro-acoustic music- #            |
       |             http://www.schreck.nl/                         |
       |             http://www.xs4all.nl/~schreck/                 |
     ` *===========================================================++
     ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
     ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
     ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
     ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |

     ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |

       *===========================================================++
  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................



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From ???@??? Wed Apr 13 16:07:57 2005
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Date: Wed, 13 Apr 2005 10:07:09 -0600
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Subject: Re: [microsound] [ot] ubuntu linux usability issues
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most of these usability issues reveal a lack of consciousness of the
fact that the different software components of a linux desktop are
managed by different groups and not by the ubuntu team.  but it's a
very interesting read!

i just upgraded to hoary and after spending a few hours fixing my
sound its running great.

mark shuttleworth is like the opensource buckaroo banzai.  (or maybe
the bizarro richard branson?)

-jake

On 4/13/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> interesting blog on first impressions of the new Ubuntu 5.0.4 (Hoary)
> release
> http://mpt.net.nz/archive/2005/04/11/ubuntu
> 
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> 
>

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most of these usability issues reveal a lack of consciousness of the
fact that the different software components of a linux desktop are
managed by different groups and not by the ubuntu team.  but it's a
very interesting read!

i just upgraded to hoary and after spending a few hours fixing my
sound its running great.

mark shuttleworth is like the opensource buckaroo banzai.  (or maybe
the bizarro richard branson?)

-jake

On 4/13/05, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> interesting blog on first impressions of the new Ubuntu 5.0.4 (Hoary)
> release
> http://mpt.net.nz/archive/2005/04/11/ubuntu
> 
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From ???@??? Wed Apr 13 16:03:24 2005
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Ah, thanks for the clarification David, I do have something to add 
about interfaces...

>> To what extent are individuals controlled by interfaces and norms 
>> embedded within technologies?

I'm afraid you're right about reverse control, and I see it in the 
community as well. Is it because:

    - people are basically lazy and don't want to think hard about it?
    - people just want to sound like other artists, and commandeer the 
tools?
    - technology has become so pervasive that it's taken for granted?
    - we don't want to work the way we want to because we're afraid to 
work outside the fitted UI, because there's a fear that we'll break the 
computer?

there are probably many more questions like these.

We are constantly affronted by GUIs and mechanisms which help us work, 
I am totally controlled by my interface at work (I am a unix sysadmin). 
But I customize my interface to a high degree, and use open source 
software which makes it easy to do that.

A lot of options don't allow for flexibility and adaptation, and push 
the user into one mode of working and one way of thinking about 
problems. Many musicians build their own sound sources, and computer 
musicians build their own interfaces for sound, but I don't think this 
is widespread. The comments about programs like Live and Reason can be 
pessimistically accurate considering that one reason people buy it is 
because they know so-and-so uses it, and they already want to be 
pigeonholed before they even start up the application.

Companies like Microsoft try and program their user base by first 
creating a paradigm that is easy to work in, and then locking them into 
that by not allowing compatibility or extendibility with other products 
or services. The inbred nature of how M$ products have evolved and 
stifled the way business works is a prime example of the interface 
taking over to become a social virus. Every software company, despite 
good intentions and programming practices, has to make concessions for 
Microsoft products, because the compatibility won't work the other way 
around, and are similarly bound.

matt

On Apr 13, 2005, at 8:13 AM, David Powers wrote:

> Hi Matt,
>
> Good answers, but I think you miss what I was getting at...  I meant to
> pose these questions in collective/cultural terms, not individual ones.
> For example, the Chernobyl accident is a little different than the
> musical accident.  Furthermore, while you as an individual may not
> experience it, I'm sure that computer interfaces do exert a control on
> the general population - I see it at work in the university every day.
> This is not just a mental or individual question, but really has
> political and social implications.
>
> ~David


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I have to take issue with this slightly - are these pieces really only
conceptual, or have the conceptual artists who followed decided to
interpret them in that way in order to validate their practices?  My
understanding of 4'33" is that Cage was trying to draw awareness to the
REAL SOUNDS occurring in the auditorium during that time frame, and not
just present a concept.  I won't speak to Duchamp's fountain, except to
say that I'm sure it also could be interpreted as something more than
just a conceptual exercise.  I think Cage, in particular, is given a
very problematic interpretation by the conceptual art crowd, who seem to
miss the fact that he was a great composer, who always kept trying new
things, and who wrote a lot of music that really did work AS MUSIC (not
just concept).  He has a conceptual side, sure, but there's much more to
him.

~David

>>> xxxxxx_xxx@xxxxx.xx.xx 04/13/05 05:05AM >>>

I mean can you imagine someone saying, yeah the music is really nothing
but the theory behind it is the lick. I mean thats what 4:33 seconds was
all about, and even Duchamp's fountain. They were both attempts at
eradicating the cult of the thing, in favour of the cult of the
idea....a truly bourgeois move.


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Hi Matt,

Good answers, but I think you miss what I was getting at...  I meant to
pose these questions in collective/cultural terms, not individual ones. 
For example, the Chernobyl accident is a little different than the
musical accident.  Furthermore, while you as an individual may not
experience it, I'm sure that computer interfaces do exert a control on
the general population - I see it at work in the university every day. 
This is not just a mental or individual question, but really has
political and social implications.

~David

David Powers
Faculty Assistant
DePaul University, School of Education
Department of Leadership in Education, Language, and Human Services
773-325-4806

>>> xxxxxx@xxxxxx.xxx 04/12/05 09:05PM >>>
....... Original Message .......
On Tue, 12 Apr 2005 18:00:16 -0500 "David Powers" <xxxxxxxx@xxxxxx.xxx>

wrote:
>
>What is music vs. noise?

Apples and oranges. ;)

I believe noise is that which opposes signal. Music as a thing which
exists 
in time may or may not contain noise. If i choose to, the noise of the
AC 
and chattering voices on this crowded train combine as music to my ear.
The 
juxtaposition of noise and musical sound might be the best indicators
of 
Free Will there is!

>What does the  "accident" mean?

This term has never resonated with me, i think because i have a musical

upbringing which never considered any sound as accidental. Every sound
is 
its own, regardless of how it is made. The better question might be
whether 
unintentional sound is considered music. It hardly makes any difference
in 
the end, but i think the link to Cage's ideas about non-intention (or
the 
removal of control) is important.

The liberation of sound has already happened. I am looking forward to
the 
liberation of culture, where people have opened their ears to new ways
of 
listening. I am still searching for ways to help this happen.
 
>To what extent are individuals controlled by interfaces and norms
embedded 
within technologies?

Only to the extent that they recognize it. Creative minds work WITH 
limitations instead of against them, and often the supposed "control"
is 
the point of inspiration. I dont see computers being much different
from 
any other music technology, digital or no. If artists are controlled by

their interface, i think they may be under-utilizing it, or are
oblivious 
to the possibilities.

matt
___
http://craque.net 

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interesting blog on first impressions of the new Ubuntu 5.0.4 (Hoary) 
release
http://mpt.net.nz/archive/2005/04/11/ubuntu


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Fingerprint Maze: takes a scan of your own fingerprint
and turns it into a 3-D maze you can navigate:

http://www.david-lu.net/v4/work/fingerprint/



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derek holzer;

> I find this "musical wallpaper" attitude
> to be most associated with pop and club music, where the sound is meant
> as a kind of background environment, and often doesn't really reward a
> deeper listening.

Persoanlly I always saw club music more like some commodity then like
wall-paper. By that I mean the music is actively used, will be "used up"
after a while and the function is more important then then it´s value as a
independant work of art. I feel it´s quite clear that it´s users are not
relating to it like they relate to wallpaper; some tracks get loud reactions
at some moments, there are not many crowds that break out in spontanious
cheering over wallpaper....

For pop music, say a radio playing in the corner of a workplace, you are
quite right and of cource many dance traks could be played on that station
and in that way become wallpaper too, but the same might hold true for the
occasional clasical piece or the news and weather.

Looking at it this way, as "functional music" I think it´s much harder to
look down upon it. Sure Panacea doesn´t reward close listening as much as M²
does and I wouldn´t call Porter Ricks as "beautifull" as Thomas Koner, but
they do *work* well on dancefloors. The makers should perhaps be looked
uppon more as artisans then as artists, but the good ones should still be
respected, I think.

On a more personal, related note, I found that dance music´s emphasis on
function makes it a great trojan horse to sneak in some meaningfull (to me)
sounds in a context where they can get to the listener before the listener
is actively analysing.


Yours,
Kas.



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From: morgan quaintance <xxxxxx_xxx@xxxxx.xx.xx>
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I think i will say one final thing on the subject and then leave it at that.

To the person who took issue with me over my autechre, and matthew barney examples, you have a valid point, but have really totally missed what i was trying to say.

Yes matthew barney will talk about how his films are made IF ASKED, but when talking about the cremaster cycle the predominant discourse centres around the meaning of the work. Cremaster is not about film stock, or digital imaging technology, or the type of lenses made to capture the images.

And as far as Autechre go, its the same thing, they will talk about gear IF ASKED, but that is not what their work is about. If you don't believe me check their 1997 interview in the wire. I am sure you will probably want to site their sound on sound interview, but that is a magazine designated to process not aesthetics.

The thing is, alot of disciplines talk about process, but not to the degree that electronic music does.

I often find that talk of process is used to justify work that is not really much of anything at all.

I think it was Michael Craig martin (am probably wrong) who placed a plastic cup filled with water and put it into a gallery, identifying it as a tree. The substance of that work was practically non existant, but the concept behind the art was pretty hefty, i mean there was no point in staring at the cup because it was obviously not a tree. The art was the concept. I feel that this sort of thing can pass in a discipline like fine art, which since the idea of conceptual art emerged in the 60's, has been increasingly about theory and language and blah blah blah, but i feel that using a wedge of theory to justify a piece of music may eventually run the risk of invalidating aesthetic considerations in music, in favour of esoteric theory. 

I mean can you imagine someone saying, yeah the music is really nothing but the theory behind it is the lick. I mean thats what 4:33 seconds was all about, and even Duchamp's fountain. They were both attempts at eradicating the cult of the thing, in favour of the cult of the idea....a truly bourgeois move.

 

 

 



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From ???@??? Wed Apr 13 06:53:42 2005
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Date: Tue, 12 Apr 2005 23:53:36 -0700
From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
Subject: [microsound] Oblique Strategies for iPod Notes
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I created a version of the deck for iPod Notes containing most of the 
cards from the first four editions, and thought the list might be 
interested.

http://www.kponto.com/os.zip

Cheers,

k:p


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....... Original Message .......
On Tue, 12 Apr 2005 18:00:16 -0500 "David Powers" <xxxxxxxx@xxxxxx.xxx> 
wrote:
>
>What is music vs. noise?

Apples and oranges. ;)

I believe noise is that which opposes signal. Music as a thing which exists 
in time may or may not contain noise. If i choose to, the noise of the AC 
and chattering voices on this crowded train combine as music to my ear. The 
juxtaposition of noise and musical sound might be the best indicators of 
Free Will there is!

>What does the  "accident" mean?

This term has never resonated with me, i think because i have a musical 
upbringing which never considered any sound as accidental. Every sound is 
its own, regardless of how it is made. The better question might be whether 
unintentional sound is considered music. It hardly makes any difference in 
the end, but i think the link to Cage's ideas about non-intention (or the 
removal of control) is important.

The liberation of sound has already happened. I am looking forward to the 
liberation of culture, where people have opened their ears to new ways of 
listening. I am still searching for ways to help this happen.
 
>To what extent are individuals controlled by interfaces and norms embedded 
within technologies?

Only to the extent that they recognize it. Creative minds work WITH 
limitations instead of against them, and often the supposed "control" is 
the point of inspiration. I dont see computers being much different from 
any other music technology, digital or no. If artists are controlled by 
their interface, i think they may be under-utilizing it, or are oblivious 
to the possibilities.

matt
___
http://craque.net

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From ???@??? Wed Apr 13 00:32:02 2005
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From: Thanos Chrysakis <xxxxxxxx@xxxxxxx.xx.xx>
Subject: Re: [microsound] maths science and electronic music
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on 4/13/05 12:02 AM, ian stewart at xxxxxxxxx@xxxxxxx.xxx wrote:

> In the discussion of math/music, the esthesic/poietic division seems
> crucial- after all, where is the math? The math may be important to the
> composer or producer, but does it matter to the listener? That is, do we
> hear math? I remember reading, ages ago and I have no idea where, a critique
> of serialism based on studies of aural perception. The point was that we
> don't hear by counting. And if you make a piece with Galois cohomology or
> pseudo-Riemannian manifolds, what of this will come across in the sound? Do
> people think that this will encode some deep structure in the music that
> will be communicated as musical structure in the listening experience?
> That's certainly not self-evident- I think the case that needs to be proved
> is that mathematics is somehow relevant to the aural experience and the
> perception of music, form, structure, etc. Obviously there's math floating
> around, because sound obeys physical laws, but that doesn't mean that math
> can tell us anything deep or profound about music and why we find it
> interesting enough to spend half our lives doing it and talking about it.

Actually, this problematic goes back to Plato, Pythagoras and
Aristoxenos .
Aristoxenos was saying that the notes of a scale should be judged not as
Pythagoreans held my mathematical ratio (and Plato was influenced
by Pythagoras's views on Music) but by the ear.

There is actually an experiential- phenomenological perspective and a
mathematico-logical one and these do not have to be opposed.
Actually, they complement each other. In other words... there is the
world of physical phenomena eg: sounds, colours, weather, etc
and the noumenal world of numbers, symbols, imagination, ideas.

If we talk in terms of sound as an acoustical phenomenon
then the relation to maths and science is evident. That means
that if you want to come in terms, to understand  a physical
phenomenon e.g sound, light,... whatever... maths-physics-science are the
fields that create the appropriate functions and ideas on such
phenomena. 

Now, creating music we deal with the
physical properties of sounds but of course we don't stay there.
That's why ex-pression (please take it in a broad sense) is not
only physical.
Maths and science are related with the Arts through the prism that
they give us insights on physical phenomena that means the material
that we use to make Music&Art.
Every physical phenomenon when it is perceived (even in a subliminal way) by
a person is not only physical anymore it takes a qualitative turn. We do not
perceive+sense (see aesthetics::aestheseis)
through maths. 
But maths give us a deeper understanding and
an insight on physical phenomena on our material.
(But who was said actually, that
the deeper part of our body is our skin?)

It is  our responsibility as musicians if we can bring forth
the immaterial aspects of our materials - sounds
with maths or not.


Best,
Thanos












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David Powers wrote:
--> Well, "GLITCH" for example, to me at least, really does highlight
aesthetic issues rather than just illustrate mathematical concepts. <--

Yes, and I think it's true in many other aesthetics of sonic art/digital 
music, where sounds suggest external ideas, things, metaphors, symbols, etc. 
Semiotics or poetics seem more relevant angles than mathematical analysis in 
anything from glitch to Trevor Wishart to field recording.

David Powers wrote:
--> Yes, but sometimes certain mathematical processes create aesthetically
interesting sounds.  There are plenty of serial pieces that sound good
to my ears, and I don't have to be aware of the math, as a listener. <--

I think we agree- as I said, math can certainly be important to the creator 
of music, and hence important at the poietic level. And there's music out 
there that I think is fantastic which was made with mathematical or 
pseudo-mathematical ideas- serial, stochastic, etc. But I was wondering 
whether it's a fundamental aspect of listening and reception, even on an 
unconscious level...

all the best,
Ian



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From ???@??? Tue Apr 12 23:13:26 2005
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Subject: Re: [microsound] maths science and electronic music
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Yes, but sometimes certain mathematical processes create aesthetically
interesting sounds.  There are plenty of serial pieces that sound good
to my ears, and I don't have to be aware of the math, as a listener. 
However, the math does matter in a sense, if the composer did not use
that mathematical process, the piece wouldn't sound that way, and thus I
as a listener would never have the pleasure of experiencing that
particular sound.  The math does not JUSTIFY the piece as being
aesthetically pleasing, but it is a necessary moment in creating that
piece.

Math and science (or, on the other hand, absurd and laborious chance
games) can be very useful in constructing unique or interesting sonic
events.  The listener doesn't have to understand the math to enjoy the
particular sonic experience that the sound event provides.  These
techniques are useful insofar as they allow composers to create
differentiated sonic material that has aesthetic interest as sound.  

~David

David Powers
Faculty Assistant
DePaul University, School of Education
Department of Leadership in Education, Language, and Human Services
773-325-4806

>>> xxxxxxxxx@xxxxxxx.xxx 04/12/05 06:02PM >>>

In the discussion of math/music, the esthesic/poietic division seems 
crucial- after all, where is the math? The math may be important to the

composer or producer, but does it matter to the listener? That is, do
we 
hear math? I remember reading, ages ago and I have no idea where, a
critique 
of serialism based on studies of aural perception. The point was that
we 
don't hear by counting. And if you make a piece with Galois cohomology
or 
pseudo-Riemannian manifolds, what of this will come across in the
sound? Do 
people think that this will encode some deep structure in the music
that 
will be communicated as musical structure in the listening experience?

That's certainly not self-evident- I think the case that needs to be
proved 
is that mathematics is somehow relevant to the aural experience and the

perception of music, form, structure, etc. Obviously there's math
floating 
around, because sound obeys physical laws, but that doesn't mean that
math 
can tell us anything deep or profound about music and why we find it 
interesting enough to spend half our lives doing it and talking about
it.

all the best,
Ian



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The poietic/neutral/esthesic tripartition is actually due to Molino, who 
formulated it in the general context of symbolic exchange. Nattiez adapted 
it to music.

Peter Price wrote:
-->In other words it is pointless to argue if "meaning" is "constructed" at 
the point of production or reception...the answer is of course both and 
everywhere in between... <--

I think for Nattiez, the tripartite division implies that there are three 
different aspects of a musical work that are legitimate and separate areas 
for analysis- the composer's methods of production, a listener's reception, 
and the 'neutral' object in itself (the 'trace'). Nattiez gets more 
interesting with it- further subdividing this into, e.g. extrinsic and 
intrinsic analyses (if I remember the terminology correctly)- intrinsic 
analysis draws conclusions from the music itself (e.g. in a poietic 
analysis: there are tone rows, hence the composer was using serialist 
methods); extrinsic analysis draws on factors external to the music (e.g. 
the composer wrote in her diary that she was using stochastic processes, 
hence...). I think Nattiez's book 'Music and Discourse' is the best-known 
exposition of this.

In the discussion of math/music, the esthesic/poietic division seems 
crucial- after all, where is the math? The math may be important to the 
composer or producer, but does it matter to the listener? That is, do we 
hear math? I remember reading, ages ago and I have no idea where, a critique 
of serialism based on studies of aural perception. The point was that we 
don't hear by counting. And if you make a piece with Galois cohomology or 
pseudo-Riemannian manifolds, what of this will come across in the sound? Do 
people think that this will encode some deep structure in the music that 
will be communicated as musical structure in the listening experience? 
That's certainly not self-evident- I think the case that needs to be proved 
is that mathematics is somehow relevant to the aural experience and the 
perception of music, form, structure, etc. Obviously there's math floating 
around, because sound obeys physical laws, but that doesn't mean that math 
can tell us anything deep or profound about music and why we find it 
interesting enough to spend half our lives doing it and talking about it.

all the best,
Ian

---->
Peter Price wrote:

In his "Semiology of Music," Nattiez proposes a semiology of music as the 
investigation of the "total musical fact."

He spells out a 3 part structure:

1) The "poietic process" or questions around the intention of the producer

2) The "trace" or the musical object in its material form (score, cd, mp3, 
air pressure)

3) The "esthetic process" or questions around the reception of the object by 
a listener.

any of these by itself could constitute an interesting "heuristic 
discourse," but remains only part of the picture.

In other words it is pointless to argue if "meaning" is "constructed" at the 
point of production or reception...the answer is of course both and 
everywhere in between...


does this seem reasonable?



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From ???@??? Tue Apr 12 22:57:49 2005
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Well, "GLITCH" for example, to me at least, really does highlight
aesthetic issues rather than just illustrate mathematical concepts. 
This is so, whether or not the composers in this style choose to speak
about it.  I think some of the concepts embedded in this music might
include: 

What is music vs. noise (already an old 20th century idea)?

What does the  "accident" (think Y2K, Chernobyl, power grid failures,
plane crashes) mean, especially in 21st century society, as our
existence is totally mediated by technology?

Who controls our technology, and authorizes what uses should be made of
it?  To what extent are individuals controlled by interfaces and norms
embedded within technologies?  How is technology related to power and
control, both over nature and over other humans?  

What are the consequences of the digital drive for perfect reproduction
(Baudrillard's hyperreality)? 

Can digital technologies resemble "nature" and natural processes if we
push them beyond their intended, controlled uses?  What is the
relationship between digital music and the natural world?  (I think of
mold growing on a CD)

How do musical recordings function as markers of power and codes for
regimenting behavior, and can we sample/alter those recordings to create
alternative musical narratives and different codes?

Just some random possibilities here...

~David

David Powers
Faculty Assistant
DePaul University, School of Education
Department of Leadership in Education, Language, and Human Services
773-325-4806

>>> xxxxxx@xxxxxxx.xxx 04/12/05 05:18PM >>>
I certainly think that aesthetics are grossly overlooked in electronic
music.  When we talk of a piece of music, the technology, the process,
or
the idea always take precedence over the aesthetics.  Sometimes
aesthetics
aren't addressed at all because the composer chooses to focus entirely
upon process or concept.

That said, I don't think that we can speak of aesthetics without
also
discussing the 'scientific' aspects (process, structure, technology)
behind the composition, particularly with electronic music, which is
by
its very definition a hybrid of science and art.

I would be more interested in a discussion on the aesthetics of
electronic
music.  why are aesthetics seldom discussed?  do aesthetic principles
exist for electronic music?  if so, what are they?

-tyler





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I might have to investigate this book - this is a very reasonable way of
describing some of the processes at work in musical creation.  I think
it is quite reasonable to include "PROCESS" as an important component in
musical creation, but I think the real question is - which process?  

I would posit that there are MANY processes...  Life itself is process,
or becoming rather than being.

Consider this, if you use a computer to create music - what about the
capitalist process of production hidden in your tool, the process of the
people that worked in a factory in Mexico or elsewhere to assemble your
PC.  As I understand it, everything is interconnected, every process
connects to another process.  Is that process in the factory less
important than the coding of software and the virtual interface design? 
Is it also a part of the art and the performance?  Ultimately, no
artwork can reveal all the processes embedded in it, because the number
of processes are potentially infinite.

Furthermore, I think the improvised vs. "finished product" dichotomy is
misleading.  Just because a work is written down does not mean process
cannot be revealed or realized - one can easily improvise around a sheet
of written music.  Or one can record/transcribe an improvisation and
turn it into a "finished product".  One can extract fixed elements from
the ongoing process of the improvisation.  There are always both fixed
and fluid elements within art.  To me, Mahler's "Song of the Earth"
might reveal more process, especially in its exploration of time in the
last movement, than an improvisation that keeps repeating fixed elements
over and over.  And likewise, musical instruments themselves, whether
saxophones or software packages, might be equally considered to be fixed
compositional element, though also the result of processes.  

From a certain point of view, which I associate with Deleuze and
Guattari especially, couldn't we say that EVERYTHING is a process, or at
least is caught within a process that changes its identity?  All the
singularities in the multi-verse are caught up in processes of
becoming...

This isn't to say that art shouldn't focus on process, I just feel many
people are using an imprecise terminology to explain exactly what it is
they are trying to explore aesthetically in their works.

~David

David Powers
Faculty Assistant
DePaul University, School of Education
Department of Leadership in Education, Language, and Human Services
773-325-4806

>>> xxxxxx@xxxxxxxxx.xxx 04/12/05 05:01PM >>>

In his "Semiology of Music," Nattiez proposes a semiology of music as 
the investigation of the "total musical fact."

He spells out a 3 part structure:

1) The "poietic process" or questions around the intention of the 
producer

2) The "trace" or the musical object in its material form (score, cd, 
mp3, air pressure)

3) The "esthetic process" or questions around the reception of the 
object by a listener.

any of these by itself could constitute an interesting "heuristic 
discourse," but remains only part of the picture.

In other words it is pointless to argue if "meaning" is "constructed" 
at the point of production or reception...the answer is of course both

and everywhere in between...


does this seem reasonable?


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