[microsound] Audiobulb release SOPHIA VSTi for PC

From David Newman
Sent Wed, Sep 1st 2004, 07:45

Audiobulb release SOPHIA VSTi
.. Author: x|k

ABV4 Sophia VSTI a unique virtual synthesizer that excels in creating
intriguing ambiences and modulated sound effects. The initial sound
generation results from the accumulation of 4 oscillators and a sub harmonic
wave table. Multiple stages of delay and reverb combine with various low
pass / band pass filtering controlled by a lfo network. In addition two
separate low pass filters are after the output stage of channels 1/3 2/4
respectively. All sound processing & signal generation is connected to the
master lfo network (parameter blast-m). The lfo network makes it easy to
modulate any key parameter without using external midi controller
modulation. However, all of ABV4 Sophia's parameters are controllable via
midi control change messages.

Free to download @ http://www.audiobulb.com



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From ???@??? Wed Sep  1 11:54:08 2004
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Date: Wed, 01 Sep 2004 13:49:30 +0200
From: herv=?ISO-8859-1?B?6Q==?= boghossian <xxxxxxxxxxx@xxxx-xx.xxx>
Subject: [microsound] LIST 3 YEARS  ! TODAY 01.09.04  !
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hi, 

 the 3rd birthday of LIST is today, back in 2001, List began his work with
the release of SOL/T.EINFELDT "x@x" (sound/vidéo) on cd-r, it was just a
prototype of things to come but the vidéo was sceened in france, italy,
spain and usa .(some extracts on List website) .

thanks to all who were involved through out the years and particulary the
ones who were there from the beginning and who are still work and/or support
List, they will recognize themselves .

with 3 albums releases ( sogar, mou, lips! and my "rvb" cd) and 2
compilations with strong concepts and contributions from artists of various
playgrounds and fame, List tried to open ears (modestly) of microsound,
improv, avant-rock, minimalism and lowercase listeners and try to offer them
a common field and musical line .
with a special interest on relations between acoustic, electric instruments
and computer possibilities that you can find at different levels  on each
releases .

List always been interested to be a place of meeting, the next release will
prove it with the creation (they only collaborate as a trio with tomas
korber before)  of the  duo Gunter Muller / Steinbruchel for the release of
their "Perspectives" cd who will be release in january 2005 .
base on the differents live sets they played through europe, this album will
not be a live album, it's more the idea of catching the magic moments of
live improvisations and offer new perspectives to them .
Gunter Muller is a improv percussionist who use (mostly analogic)
electronics to create landscapes of rich textures from noise to silence,
never excluding the rythm .
he's famous for his collaboration with poireZ/voice crack, jim o'rourke and
onkyo japanese scene .
Steinbruchel that you probably know the music if you are a subscriber of
microsound is one of the more interesting dgital lowercase musician with
richard chartier using subtle micro textures loops to develop an ambient
movement from the highest to the lower frequencies .


the compilation "INstruments" is nearly sold out, i only have 2 copies left
for the List paypal shop.
(note that you can still find some on various mail-orders and on 12k online
shop)

to celebrate the 3rd birthday of List until september 30th, for 3 cds (it
can be 3 cds of one item if you want to make a common order with a friend) ,
the 4th of your choice will be offer (in a promo thin packaging) .

you can order : 

L1 v/a "minima-List" with deupree, komet, chartier, licht , curtis,
yoshihide...
L3 mou, lips! "peanuts ans shells geometria"
L4 hervé boghossian "rvb"
L5 v/a "INstruments" with m.akiyama, j.schaefer, steinbruchel, muller,
colleen ... (2 copies only).

http://www.list-en.com

sorry, i have to make a big update, it will be done in the coming weeks .

next List (and related ones) events :

24.09.04 
hervé boghossian live @ La Soufflerie ("Déambulations numériques" festival)
Poitiers, fr 

17.10.04 
hervé boghossian live @ Confluences (Ircam "Résonances Off" festival) Paris,
fr 

30.10.04 
List 3 years birthday party @ Les Abattoirs Toulouse, fr
with présentation of the label and live performances by
colleen, janek schaefer and hervé boghossian

and more to come ....

thanks for your attention

best 

rv 

 



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From ???@??? Wed Sep  1 13:02:49 2004
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Date: Wed, 01 Sep 2004 13:02:40 +0000
From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] Contents Onda Sonora 01-09-2004
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 FILETIME=[F6E0A8B0:01C49023]

www.ondasonoraradio.com
Escucha/Live a cualquier hora en la ventana Escuchar/Listen, clickeando Pc o 
Mac
Radio Círculo De Bellas Artes. Miércoles. 15:00-16:00. 100.4 fm 
www.circulobellasartes.com

Contenidos Onda Sonora (Radio Sesiones Experimentales) 01-09-2004

01. SON OF EARTH
Track: Floating Image
Album: Carhole
Label: Apostasy Recordings

Abrimos el programa de esta semana desde la ciudad de Amherst, en el estado 
norteamericano de Massachussetts, donde se encuentra la sede del sello 
Apostasy, que edita en edición limitada un disco de belleza minimalista y a 
la vez complicada grabado en directo desde la sala Carhole de Belchertown. 
Se trata de lo nuevo de Son of Earth, un trío formado por Matt Krefting, 
Aaron Rosenblum y John Shaw

The opening for this week’s session from the Apostasy label offices in 
Amherst (Massachussets, US). A piece of minimal but complex beauty recorded 
live at the Carhole in Belchertown (MS, US). Son of Earth are Matt Krefting 
–electronics, keyboards, tapes-, Aaron Rosenblum –guitar, electronics, 
radio, organ- and John Shaw –modified guitar, electronics, percussion-

02. PAUL PANHUYSEN
Track: A Magic Square Of 5 To Look At/a Magic Square Of 5 To Listen To
Album: A Magic Square Of 5 To Look At/a Magic Square Of 5 To Listen To
Label: Plinity Plonk

A sus 70 años, el holandés Paul Panhuysen es un reputado artista en el campo 
de las instalaciones de sonido, complementando sus trabajos con arte visual 
desarrollado por él mismo, aunque también es conocido como miembro del 
Macunias Ensemble. La composición que vamos a escuchar, editada por el 
también holandés sello Plinity Plonk, mereció la mención honorífica del Ars 
Electronica 2004. Con el nombre A Magic Square Of 5 To Listen To, la obra 
parte del cuadrado mágico: series numéricas encuadradas de manera que la 
suma de las filas, columnas y diagonales del cuadro produce siempre la misma 
suma. Esta obra se estrenó en el Puddles Festival de Tokyo en septiembre del 
año pasado dentro de una estancia de 5 x 5 metros a través de un sistema de 
sonido cuadrafónico, aunque el resultado en dos canales es igual de 
interesante

In his 70s, Paul Panhuysen is a reputed Dutch artist in the field of sound 
installations, often complemented with visual work developed together with 
the audio. Panhuysen, though, is also known as a member of the Maciunas 
Ensemble. This composition received an honorary mention at Prix Ars 
Electronica 2004. A Magic Square of 5 to Listen to is inspired by the Magic 
Square: numeric series arranged in a square grid so that the resulting sum 
of each horizontal, vertical and diagonal row is always the same. First 
performed in Tokyo’s Puddles Festival last year in a 5x5m area, the work was 
conceived for a quadraphonic audio system; the result in two channels, 
though, is equally interesting

03. MATT BOGRHI & JASON SLOAN
Track: Guilford
Album: Guilford
Label: Kikapu

Desde el netlabel Kikapu esta es la colaboración entre dos artistas que se 
conocieron por internet y que trabajan improvisando piezas con laptop, 
guitarra y grabaciones de campo. Esta es la primera grabación conjunta de 
Matt Borghi y Jason Sloan, compuesta a partir de su primera reunión conjunta 
en el piso del segundo en la calle Guilford de Baltimore

Collaboration between two artists that met on the internet and currently 
work constructing pieces with laptop, guitar and field recordings. This is 
the first duo recording between Matt Borghi and Jason Sloan, composed after 
their first meeting at Sloan’s home, close to Guilford St. in Baltimore

04. PHOEBUS
Track: Soap Opera
Album: Peri Sable
Label: Test Tube

A lo largo de las últimas semanas, venimos presentándote varios sellos que 
trabajan únicamente a través de internet, distribuyendo audio de forma 
gratuita en formato mp3. Uno de ellos es el netlabel portugués Test Tube, 
división del sello mono·cromatica, que acaba de publicar Peri sable, un 
trabajo minimal basado en la repetición de patrones a cargo de un nuevo 
artista llamado Phoebus, que utilizó acordes de guitarra complementados por 
capas de ruido y glitch para crear el tema con el que hoy despediremos 
nuestra emisión

Along the last weeks, we are focusing at labels working via internet, 
distributing free audio files in mp3. One of them is the Portuguese netlabel 
Test Tube, a division of Mono·Cromatic records. Test Tube has just released 
Peri Sable, a minimal work based in pattern repetition developed by Phoebus 
and manufactured with handled guitar chords complemented with glitch and 
noise layers


Nota: Este correo no ha sido solicitado, pero hemos considerado que te 
podría interesar. Si no quieres volver a recibir mensajes de nuestro 
programa, devuélvelo poniendo "Bórrame" en el asunto. Inmediatamente te 
borraremos del mailing. Gracias.

_________________________________________________________________
Horóscopo, tarot, numerología... Escucha lo que te dicen los astros. 
http://astrocentro.msn.es/


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From ???@??? Wed Sep  1 13:57:43 2004
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http://www.perl.com/pub/a/2004/08/31/livecode.html


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From ???@??? Wed Sep  1 18:43:18 2004
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Date: Wed, 01 Sep 2004 11:33:24 -0700 (PDT)
From: Benjamin Thorp <xxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] ot any chicago happenings?
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in chicago for a couple of days and wondering if there
was anything of interest happening?
be well,
benjamin


                
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From: Neil Wiernik <xxxx@xxxxxxxx.xxx>
Subject: [microsound] session syndromatique @ rouje /quebec / sept 04
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4 septembre 2004   9pm

SESSION SYNDROMATIQUE:

[naw] live mtl - noise factory records
[sarcastic] mtl - level4 productions
[bleupulp + more] live qc - syndromatique
[mindmover] qc - syndromatique
[strafe] qc - syndromatique
[cyre] qc - syndromatique


5$ à la porte / at the door

à la galerie rouje
228 rue st-joseph est
québec

www.syndroma.org

www.rouje.net

if you are interested to come over and need directions
xxxx@xxxxxxxxx.xxx

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From ???@??? Thu Sep  2 00:01:56 2004
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From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] Melbourne ::: Unpredictable Aesthetics ::: xxxxxxx@xxxx
 ::: this        Sunday 5th of Sept ::: 7pm till late
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Hi all... 

here's the latest on this weekend's environ event in Melbourne, Australie

ENViRON @ LOOP : 23 meyers place melbourne CBD
SUNDAY SEPTEMBER 5th  : 7PM TIL LATE : $5

Environ returns for it's forth adventure into unpredictable aesthetics, once
again incorporating the talents of some of Melbourne's diverse artistic
types, thru the collaborative game known as 'Talula'.

Thrown into the ring this time round are electronic sound-smiths Gef Senz
(Hickstep, Ping, Opsimath), Jason Sweeney (Pretty Boy Crossover, Simpatico,
Luxury Gap) and guest disc spinners Antediluvian Rocking Horse.

Joining these on the 5th of September is emerging Impro-Jazz legend Adam
Simmons playing saxophones, clarinets and flutes. At any time Adam works in
5-10 groups as a regular member so why not add another spontaneous
collaboration to the list.

Featured video artist Lindsay Cox, has recently returned from his third
visit to Taipei. There, he created a video project that showed correlations
between the activities of commuters and the summer insects of Taipei.
Lindsay brings with him documented footage of his journey for use at Loop.

Mei Lai Swan (Loth Lorien) and Khalid Abdullahi bring stringed acoustic
instruments and Computer based Visuals respectively. Mei Lai can often be
found in devious collaborations with many well known Melbourne artists on
projects ranging from contemporary world folk, to commercial hip hop. Khalid
is a member of the AV act Bits of Clay who work with light and sound, and
immerse both real and virtual habitation to create works that interact
within the performing space.

Bulgarian sound engineer Viktor Markov and socio-sonic provocateur Brendan
Palmer will take charge of the mix, alongside rapid beats boy DJ Zaibatsu.
Analogue visuals coming courtesy of John Aslanidis.

As part of Talula the Audience is surrounded with one performer in each
corner of the room and the sets usually go for around an hour.

Talula #7 (9.00pm)

Jason Sweeney (loops & scapes)
Pretty Boy Crossover, Simpático, Luxury Gap

Mei Lai Swan (cello, violin)
Loth Lorien

Khalid Abdullahi (computer visuals)
Bits of Clay, m656.com

Brendan Palmer (analog vs digital mix)
Zonar, SBS Alchemy, Uber_Lingua


Talula #8 (10.30pm)

Gef Senz (percussive electronics)
Ping, Opsimath, Signal 2 Noise, Hicstep

Adam Simmons (saxophones, clarinets, flutes)
A.S. Toy Band, A.S. Quartet, Bucketrider, Aust Art Orch.

Lindsay Cox (Video and related mysteries)
Luxy Taipei, RMIT Animation & Interactive Media

Viktor Markov (mixing exotics)
Bulgaira, Zimbabwe, SBS Radio

Alongside:  Antediluvian Rocking Horse (DJs), Zaibatsu (DJ) , John Aslanidis
(projection), Talula archive

More info and bios at http://www.environline.net
LOOP : 23 Meyers Place Melbourne : http://www.looponline.com.au


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From ???@??? Thu Sep  2 12:35:44 2004
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Date: Thu, 02 Sep 2004 14:35:38 +0200
From: HarS' Sound Chronicles <xxxxx@xxxxxxx.xxx>
Subject: [microsound] Come and Play with Vicky!
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 FILETIME=[5A379BB0:01C490E9]

[ this message is addressed to those on the microsound list that, more or 
less regularly, perform live ...]

"Vicky's Mosquitos" is a recent project of mine. It is based upon 
'Mosquitos', a chapter from 'Mars & other Stars', a story that I wrote 
during the first weekend of september 2001. The story is set agains the 
yearly Stockhausen summer courses, that take place in the German village of 
Kuerten. Those that have been there, will surely recognize a lot. The 
story's pure 'fiction', though.

In "Vicky's Mosquitos", MacOS voice 'Vicky' reads a version of the text, 
that I adapted to the peculiarities of 'her' voice and diction.

I recorded Vicky's reading.
It takes her 30 minutes and 7 seconds to say it all.

For the sequel of this project I'm looking for musicians that are willing to 
create a soundtrack to Vicky's reading of 'Mosquitos'. As (part of) a 'live 
performance'. Improvised, composed ... whatever.
They may use all of Vicky's reading, unaltered; or choose parts of it; or 
make their own 'cut-up' of the reading. Comment uon it, react to it, destroy 
it, enhance it, de(con)struct it ...

The only 'conditions' are:
1. It should be done 'live' (in public);
2. Each performance should start with, and leave unaltered, the first phrase 
of Vicky's reading.

You can listen to and/or download Vicky's reading from the Open Source Audio 
section of the Internet Archive:

http://www.archive.org/audio/audio-details-db.php?collectionid=VickysMosquitos&collection=opensource_audio

If you are interested in 'playing with Vicky', and participate in the 
project, I will send you and audio-CD with the recording's master file.

Please contact me off list!

Thanks!

Harold Schellinx
--
http://soundblog.net

_________________________________________________________________
Bloquez les fenêtres pop-up, c'est gratuit ! http://toolbar.msn.fr


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From ???@??? Thu Sep  2 13:16:41 2004
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Date: Thu, 02 Sep 2004 06:16:54 -0700
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Subject: [microsound] Sonic Acts festival - live performance
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new work @ http://meta.am/

+

i will be performing a live audio/visual set -
thursday, september 23
as part of the Sonic Acts festival, in Amsterdam, NL

                - details
                  http://www.sonicacts.com/




unsorted,
Sonic Acts X

The information arts are the theme of the tenth edition of the Sonic Acts festival that will take place from thursday 23d until saturday 25th of September at Paradiso, Amsterdam. The festival consists of a two-day conference, three consecutive evenings and nights of live performances, a film programme, and an exhibition.

A mix of performances, interviews and lectures will give a kaleidoscopic view of the information arts and the consequences of their emergence on the arts in general.


With:

André Platteel [NL],
Battery Operated [UK/FR],
Benjamin Gaulon [FR],
BJNilsen [SE],
Bong-Ra [NL],
Byetone [DE],
Carl Michael von Hausswolff [SE],
Casey Reas [US],
Chris Watson [UK],
Codespace [CH],
COH [RU],
Dextro [AT],
DJ /Rupture [ES],
Driessens & Verstappen [NL],
Dyad [US/CH],
Fennesz [AT],
GAS [JP],
Geert Mul [NL],
Input [VA],
Jan Jelinek + Karl Kliem [DE],
JODI [NL/BE],
Jon Wozencroft [UK],
Komet [DE],
Lia [AT],
M.I.M.E.O. [VAR],
Meta [US],
Mise-en-trôpes [BE],
Noizbleed [NL/NS],
Optical Machines [NL],
Philip Jeck [UK],
Pixel [DK],
Pure + DeKam [AT/US],
Radian + Jade [AT],
Raster-Noton [DE],
Remko Scha & Arthur Elsenaar [NL],
Rutger Wolfson [NL],
Sickboy [BE],
Skoltz Kolgen [CA],
Solu [FI],
Speedy J [NL],
Tobias van Veen [CA],
Tom Betts & Joe Gilmore [UK],
Tomato [UK],
Touch [UK],
Visomat inc. + Errorsmith [DE],
Venetian Snares [CA],
Videotroopers [NL]



/

 



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From ???@??? Thu Sep  2 17:01:02 2004
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Sonic Acts festival - live performance
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greets,

++ anyone else going to be there?

I'll be giving a talk on the 24th, 4pm, small hall in the Paradiso
(Amsterdam):

    "The Reverb Engine: Echoes of Futurism in the 21C."


best, 

    tV


> 
> new work @ http://meta.am/
> 
> +
> 
> i will be performing a live audio/visual set -
> thursday, september 23
> as part of the Sonic Acts festival, in Amsterdam, NL
> 
>               - details
>                 http://www.sonicacts.com/
> 
> 
> 
> 
> unsorted,
> Sonic Acts X
> 
> The information arts are the theme of the tenth edition of the Sonic Acts
> festival that will take place from thursday 23d until saturday 25th of
> September at Paradiso, Amsterdam. The festival consists of a two-day
> conference, three consecutive evenings and nights of live performances, a film
> programme, and an exhibition.
> 
> A mix of performances, interviews and lectures will give a kaleidoscopic view
> of the information arts and the consequences of their emergence on the arts in
> general.
> 
> 
> With:


[sniiiiiip]


tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++ 


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From ???@??? Thu Sep  2 19:57:08 2004
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Date: Thu, 02 Sep 2004 21:57:02 +0200
From: stephan mathieu <xxxxx@xxxxxx.xxx>
Subject: [microsound] [ANN]: On Tape | new CD on =?iso-8859-1?Q?H=E4pna=2C?=
 Stockholm
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hello,
i'm happy to announce my new CD on the hapna label from stockholm. 'on tape' is a straight live recording from a concert i played at fylkingen, stockholm in february 2004.

thanks for your attention
 - stephan

--

STEPHAN MATHIEU - ON TAPE (HÄPNA H.18)

Stephan Mathieu is an electronic musician from Saarbruecken, Germany. Starting out as a drummer in various improvised contexts he made the switch to working with computers in the late 90´s. Since then he has released a string of highly acclaimed recordings on labels like Ritornell, Orthlorng Musork, Lucky Kitchen and Fällt. From his interest in design and work with installations he has acquired a finetuned sense of form. His music is mostly based on acoustic instruments but so far they have always been more or less heavily computer processed.
"On Tape" is a pivotal work for Mathieu as this is the first time we hear him leaving his source material unprocessed by digital means.
Stephan started building this piece from recordings provided to him by Swedish trio Tape and saxophonist Magnus Granberg. Adding his own subtle drumming, fieldrecordings and a focus on reworking the sound material exclusively with classic editing techniques this is a beautiful album that weaves elements from the electronic and acoustic worlds to a seamless whole. A very clear and uncomplicated atmosphere around this piece distinguishes it from a lot of electronic music. 

www.hapna.com

"Mathieu balances perfectly between pop and avantgarde.."
Panorama, Norway

--

upcoming releases : :

Pieces Of Winter By John Hudak And Stephan Mathieu | CD on Sirr, Lissabon (09.2004)

The Sad Mac | CD on HEADZ, Tokyo
(12.2004)


exhibition : :

Tinfoil Star/Tinfoil Star (Recording Angels) | 2 pieces for the ECOUTE exhibition, Centre Pompidou Paris 22 Sept. 2004 - 17 Jan. 2005

2 series of photography at www.coriolislab.org


interviews : :

(engl/jap) in OKfred magazine, Tokyo - www.slidelab.com/okfred004.html

(engl) online at www.loop.cl

--

   |--- -- | --- | - -| ||
   bitsteam. www.bitsteam.de

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after all this time, im back
-thaniel ion lee
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if anyone gets this......email me back
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it is working!
paz
J21

On Sep 2, 2004, at 1:58 PM, xxxxxxx@xxx.xxx wrote:

> if anyone gets this......email me back
justino
aka jorge bachmann                                sculpture-photography-sound
P.O.Box 15953
San Francisco, CA 94115-0953
M-415-706-9629
W-415-750-3517                                        http://anihilo.com


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From ???@??? Thu Sep  2 21:16:13 2004
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thankyou. very much. how are you
-t

-------------- Original message from Jorge Bachmann : -------------- 

> it is working! 
> paz 
> J21 
> 
> On Sep 2, 2004, at 1:58 PM, xxxxxxx@xxx.xxx wrote: 
> 
> > if anyone gets this......email me back 
> justino 
> aka jorge bachmann sculpture-photography-sound 
> P.O.Box 15953 
> San Francisco, CA 94115-0953 
> M-415-706-9629 
> W-415-750-3517 http://anihilo.com 
> 
> 
> --------------------------------------------------------------------- 
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx 
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx 
> website: http://www.microsound.org 
> 
--Boundary_(ID_xyFIhon+lMSolv37WcRhXw)--

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Date: Fri, 03 Sep 2004 08:22:21 +1000
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Subject: [microsound] Symbiosis Playlist - 29/8/04 (Antiopic label feature)
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Symbiosis

Experimental Sound Textures and Rhythms
[Headphones recommended]

12am - 2am Sunday nights
(1pm - 3pm Sunday afternoon GMT)


Time Zone Converter: http://wwp.greenwichmeantime.com/gmt-converter2.htm
(Show broadcasts in GMT +10)

102.7 FM, Melbourne, Australia
Listen online: http://www.rrr.org.au

Symbiosis
c/o Triple R
PO Box 304
Fitzroy, VIC  3068
Australia

xxxx@xxxxxxxxx.xxx.xx

presented by Simon Hampson

--------------------------------------------
Hi all,

This week on Symbiosis (5/9): In the mix - Toshimaru Nakemura & Brett
Larner in preparation for their shows in Melbourne (see below). Plus lots of
new releases that have built up in the last few weeks.

Coming Soon:

12/9: Philip Samartzis chats about the opening of Immersion at Westspace /
Mouse On Mars Interview
19/9: September Label Feature - Fallt Publishing

In the pipeline: Ian Andrews, Dallas Simpson, Listening to the Mind
concert, Anthony Guerra

Local events:

Synaesthesia SAMARTZIS/LUNDING 'Touch Parking' 12" launch & benefit for
Pateras/Baxter/Brown:
Friday 3rd, 11 a hope street, brunswick, Melbourne, 9pm

"Sound Out"
Composers from the undergraduate composition course premiere new short works
for orchestra
performed by the VCA Orchestra conducted by Mark Summerbell
Friday 3 September 2004
7.30pm, Iwaki Auditorium, ABC Southbank Centre

I.Audio w/ Toshimaru Nakemura & Brett Larner:
(http://impermanent.info/)
Sydney: Thursday 16th Sept
Melbourne: Sat 11th & Sun 12th Sept

(got a show to list? let me know...)

Until next week,

Simon.
listening to: Mouse On Mars - Radical Connector
watching: The Village
--------------------------------------------
Show Date: 29/8/04

Guests/Features:
Antiopic was the subject of the Symbiosis August Label Feature. David
and James joined me on the phone from New York and the first hour was
dedicated to their 5 physical releases. The second hour showcased
tracks from the Allegorical Power series - a net-based project that ran
from June - December 2003 (http://www.antiopic.com/).

Artist :: Track :: Album :: Label

Need Thomas Windham :: #5 :: Employment Patterns :: Antiopic

David Daniell :: highway 371, forty miles south of farmington, jan 19,
1998, 2.25pm :: Sem :: Antiopic

Ultra-Red :: amnistia (por nueva york) :: Animista :: Antiopic

Dion Workman :: (excerpt) :: Ching :: Antiopic

Joyce Hinterding :: (excerpt) :: Spectral :: Antiopic/Sigma Editions

AGF :: human.sMISTAKEreports :: Allegorical Power July :: Antiopic

Freiband :: economix :: Allegorical Power October :: Antiopic

Tu M' :: backbitings :: Allegorical Power September :: Antiopic

Duul_Drv :: under words, there is something hidden :: Allegorical Power
November :: Antiopic

TV Pow :: cornered at the drake hotel (extended mix) :: Allegorical
Power June :: Antiopic

Alejandra & Aeron Sacar :: a plaza :: Allegorical Power September ::
Antiopic

Okkyung Lee :: wind fall :: Allegorical Power August :: Antiopic

Annette Krebs :: no title :: Allegorical Power December :: Antiopic

Omnid :: cermic nikra :: Allegorical Power October :: Antiopic

Mattin :: computer music from st petersburg :: Allegorical Power July ::
Antiopic

Anthony Pateras & Robin Fox :: aphasia :: Allegorical Power December ::
Antiopic

J. Frede :: double_standard :: Allegorical Power October :: Antiopic

--
Links from this week's show:

Artists

Need Thomas Windham: http://www.antiopic.com/catalog/an001.html
David Daniell: http://www.antiopic.com/catalog/an002.html
Ultra-Red: http://www.antiopic.com/catalog/an003.html
Dion Workman: http://www.sigmaeditions.com/sigma_dion%20workman.html
Joyce Hinterding: http://www.sunvalleyresearch.com/Luminoska/index2.htm
AGF: http://www.poemproducer.com/
Freiband: http://www.beequeen.nl/de_Waard/disc/freiband_disc.htm
Tu M': http://www.tu-m.com/
Duul_Drv: http://members.shaw.ca/duul_drv/
TV Pow: http://www.tvpow.net/
Alejandra & Aeron Sacar: http://www.luckykitchen.com/ &
http://www.softlmusic.com/artists/a_a/
Okkyung Lee: http://www.burntsugarindex.com/Home/bios/Okkyng_Lee.html &
xxxxxxxxxx@xxxxxxx.xxx
Annette Krebs: http://www.japanimprov.com/profiles/akrebs/profile.html
Omnid: http://www.geocities.com/omnid2003/omnid2003.html
Mattin: http://www.mattin.org/
Anthony Pateras & Robin Fox:
http://www.kunstradio.at/BIOS/foxpaterasbio.html
J. Frede: http://www.jfrede.com/

Labels

Antiopic: http://www.antiopic.com/
Sigma Editions: http://www.sigmaeditions.com/

Misc

Allegorical Power: http://www.antiopic.com/allegorical/

-----------------------
To Unsubscribe from future Symbiosis mailings please email:
xxxxxxxxxxx@xxxxxxxxx.xxx.xx
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From ???@??? Thu Sep  2 23:29:01 2004
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From: Cordell Klier <xxxxxxxx@xxxxx.xxx>
Subject: [microsound] Cordell Klier updates
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Howdy Microsounderz.. 
sorry for any annoyances this off topic post may
cause.
never meaning any disrespect,
just spreadin` some new info about my goofy ass:



1) 2 NEW RELEASES (see below)

2) Wilt/Monstrare collab/split entitled
"GRAVEFLOWERS"
   is due to come out fairly soon on .ANGLE.REC.
   http://www.angle-rec.net/

3) and the lovely S T A T E A R T 
   have just posted my (pretense-laden and silly)
20 questions!!!
  
http://www.stateart.de/stateart/special/2020/2020collection.html



N E W   R E L E A S E S ! ! 
_____________________________

C O R D E L L   K L I E R  - "sentence diagrams"


slight traces of movement...slight textures on
solid surfaces..
....skittering past at snail speed...
...drones, tones, minimalist structures click &
snap by, passing your ears breathlessly.
are they there? are you there?..


out now on   a c i d f a k e  r e c o r d i n g s
http://www.acidfake.tk


__



C O R D E L L   K L I E R  - "traces"

 Cordell Klier is an incredibly prolific US sound
artist plebisciting musical crossbreeding since
almost two decades,
but also manager of his own DOCTSECT label, and
sensitive graphic designer...
Making an exhaustive list of his multiple
offshoot projects would be far too long,
nevertheless one could quote MONSTRARE, OF,
VEDISNI & KREPTKREPT among others...
-
After years of personal development, he is now
renowned for his finely chiselled & beautifully
edited audio-art pieces...
-
On "Traces", Cordell draws us into a disembodied
relation where something new seems to emerge from
scattered fragments, deliquescent presences,
evaporated moments...
A fading into a pool of nocturnal ink, a lone
sustained swell of quasi static waves...
"Traces" is a story of sublimated remnants... an
eclipsed breeze blowing arcane formulae on the
surface of obscure waters...
Along the regular erosion, beyond the loss, one
feels like listening closely to the rush of some
galvanizing flow, the reanimation of intriguing
vestiges...
-
"Traces" scratches mind & soul, raising the veil
on deep feelings... 

out now on M y s t e r y   S e a 
http://www.mysterysea.net  :::
xxxxxxx@xxxxxxxxxx.xxx

______________________________


Thanks everyone. I hope this posting isn't too
annoying. :)

Cordell Klier

ps - I'll be playing in St. Paul, MN with my
chums in RedRot & Luasa Raelon on the
16th of Sept @ Big V's!!!!

www.doctsect.com
xxxxxxxx@xxxxxxx.xxx

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

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From ???@??? Fri Sep  3 00:27:30 2004
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From: xxxxxxx@xxx.xxx
Subject: [microsound] hey, Cordell Klier
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>, xxxxxxxx@xxxxxxx.xxx
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i see that your from indiana, i live in southern indiana [accross the river from louisville] id like to hear your stuff one day
-t
--Boundary_(ID_sftVrphSoSwyVwMs6iSnqg)--

From ???@??? Fri Sep  3 00:31:45 2004
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From: xxxxxxx@xxx.xxx
Subject: [microsound] nevermind lol Cordell Klier Re: [microsound] Cordell
 Klier updates
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im an idiot. your from the other bloomington.
-t

-------------- Original message from Cordell Klier : -------------- 

> Howdy Microsounderz.. 
> sorry for any annoyances this off topic post may 
> cause. 
> never meaning any disrespect, 
> just spreadin` some new info about my goofy ass: 
> 
> 
> 
> 1) 2 NEW RELEASES (see below) 
> 
> 2) Wilt/Monstrare collab/split entitled 
> "GRAVEFLOWERS" 
> is due to come out fairly soon on .ANGLE.REC. 
> http://www.angle-rec.net/ 
> 
> 3) and the lovely S T A T E A R T 
> have just posted my (pretense-laden and silly) 
> 20 questions!!! 
> 
> http://www.stateart.de/stateart/special/2020/2020collection.html 
> 
> 
> 
> N E W R E L E A S E S ! ! 
> _____________________________ 
> 
> C O R D E L L K L I E R - "sentence diagrams" 
> 
> 
> slight traces of movement...slight textures on 
> solid surfaces.. 
> ...skittering past at snail speed... 
> ..drones, tones, minimalist structures click & 
> snap by, passing your ears breathlessly. 
> are they there? are you there?.. 
> 
> 
> out now on a c i d f a k e r e c o r d i n g s 
> http://www.acidfake.tk 
> 
> 
> __ 
> 
> 
> 
> C O R D E L L K L I E R - "traces" 
> 
> Cordell Klier is an incredibly prolific US sound 
> artist plebisciting musical crossbreeding since 
> almost two decades, 
> but also manager of his own DOCTSECT label, and 
> sensitive graphic designer... 
> Making an exhaustive list of his multiple 
> offshoot projects would be far too long, 
> nevertheless one could quote MONSTRARE, OF, 
> VEDISNI & KREPTKREPT among others... 
> - 
> After years of personal development, he is now 
> renowned for his finely chiselled & beautifully 
> edited audio-art pieces... 
> - 
> On "Traces", Cordell draws us into a disembodied 
> relation where something new seems to emerge from 
> scattered fragments, deliquescent presences, 
> evaporated moments... 
> A fading into a pool of nocturnal ink, a lone 
> sustained swell of quasi static waves... 
> "Traces" is a story of sublimated remnants... an 
> eclipsed breeze blowing arcane formulae on the 
> surface of obscure waters... 
> Along the regular erosion, beyond the loss, one 
> feels like listening closely to the rush of some 
> galvanizing flow, the reanimation of intriguing 
> vestiges... 
> - 
> "Traces" scratches mind & soul, raising the veil 
> on deep feelings... 
> 
> out now on M y s t e r y S e a 
> http://www.mysterysea.net ::: 
> xxxxxxx@xxxxxxxxxx.xxx 
> 
> ______________________________ 
> 
> 
> Thanks everyone. I hope this posting isn't too 
> annoying. :) 
> 
> Cordell Klier 
> 
> ps - I'll be playing in St. Paul, MN with my 
> chums in RedRot & Luasa Raelon on the 
> 16th of Sept @ Big V's!!!! 
> 
> www.doctsect.com 
> xxxxxxxx@xxxxxxx.xxx 
> 
> __________________________________________________ 
> Do You Yahoo!? 
> Tired of spam? Yahoo! Mail has the best spam protection around 
> http://mail.yahoo.com 
> 
> --------------------------------------------------------------------- 
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx 
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx 
> website: http://www.microsound.org 
> 
--Boundary_(ID_RfDq9Lf05wAjjrHNHZda3w)--

From ???@??? Fri Sep  3 09:14:46 2004
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From: xxxxxx@xxx.xxx
Subject: [microsound] Free Mp3 Produced by Mg3Nc Project
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--Boundary_(ID_70hhJToCax/f1fmaKce29g)
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 Mg3Nc Project Present 
Randomized Experimental Freeform Tracks 
     _http://www.soundstation.com/mg3nc_ (http://www.soundstation.com/mg3nc) 
 
 
Free Mp3 And Always looking for artist to collaborate with Enjoy Thanks  EDwX 
--Boundary_(ID_70hhJToCax/f1fmaKce29g)--

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Date: Fri, 03 Sep 2004 13:34:38 +0100
From: douglas benford <xxxxxxx@xxxxx.xxxxx.xx.xx>
Subject: [microsound] London: Sprawl is BACK! NEW venue, NEW acts.
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================================
S P R A W L  September 2004 bulletin
================================

SPRAWL IS BACK!
        at a new venue!

next week:

DATE: Weds 8th September

SAME ACTOR (UK) - live
Chris Cook from Brighton, has been making electronic music of all kinds
for many years and operating under the names Remote and Hot Roddy, plays
sitar along with his beats at every gig. Using various stringed instruments
and building up soundscapes on the fly, Cook uses no pre-recorded or pre-
sequenced material, but plays with alternative tuning systems and world
rhythms. Chris is an active member of Spirit Of Gravity collective hosting
their radio show on Totally Radio.
http://www.hotroddy.com
http://www.spiritofgravity.com
http://www.totallyradio.co.uk

LANCE MARTINS (UK) - live
Musician, film maker, and proud father, Lance is also a DJ on Resonance
FM presenting 'better on headphones', a fortnightly show,  every other
sunday night 8 to 9pm, his 4 cd discmen produce a multi layered
soundscape. When playing live he uses drum machine, sequencer,
minidisc and slides.
<xxxxxxxxxx@xxxxxxx.xxx>

JAMES lll (UK) - live
James and his amazing linked up contraptions ('the N.A.G.'),
embracing cut & paste way synthy assemblages & soundscapes,
with 8mm films, have recently been making ther marks at the Creative Swing,
Cargo, Resonance FM, playing at a David Toop book launch and supporting
infamous punk person Spizz.
http://www.sitbackandrelapse.com/

DOUDOU MALICIOUS (Fr.) - DJ set
Born in Pontoise (95) near Paris. He started mixing at the age of 16 years
old. Doudou Malicious is a versatile dj who plays all kind of different
experimental sounds. He has been played Clubs such as Herbal, Crash,
Aka Bar, Telegraph, The Fortress, Spitz, 333, Roof Gardens, Kemia Bar at
Momoís, Long Bar at the Sanderson, The Rhythm Factory, Mezzanine D
Alcazar (Paris), Batofar (Paris).
http://www.doudoumalicious.com

resident djs + curators
Iris Garrelfs (BitTonic/germany/bip hop)
si-cut.db (uk/bip hop/fallt/highpoint lowlife/tennis)

NEW VENUE
Upstairs at the Charterhouse bar
38 Charterhouse Street
London EC1
telephone: 020 7608 0858
email: xxxx@xxxxxxxxxxxxxxx.xx.xx
http://www.charterhousebar.co.uk
ADMISSION 4 pounds, concs. 3 pounds    7.30pm - 11.30pm


Next Sprawls:
oct 13th: Mike Cooper, Greg Headley, Un Caddie Renverse dans l'Herbe
nov 10th: FM3, Gavin Starks, Alex Czinczel

Announcing some SPRAWL radio:
Sprawl will present a regular programme in the new Small Pieces
slot on Resonance FM 104.4, midnight thru' to 1am (fridays).
1st show: September 24th TBC  http://www.resonancefm.com
(in conjunction with [no.signal], Non Clickable, Midrange, & D-fuse)


[] some related artist activities

================================
si-cut.db, Iris Garrelfs - live + dj sets
================================

SEPT 11
SI-CUT.DB live + Duncan Speakman, Respray,
TC McCormak, Machines From the Future, DJs Gillian & Phoebe
PVA festival, Bridport, Dorset
http://www.pva.org.uk

SEPT 14
SI-CUT.DB dj (CDR/mp3 mix) set 10 -11pm + dj Doudou Malicious
Multi Vitamins @ Pool Bar. Free.
104-108 Curtain Road, London EC2

SEPT 23
SI-CUT.DB live + POLE live + Djs
Spitz, Old Spitalfields Market, 109 Commercial St., London E1 6BG
http://www.assemblypoint.tv/

SEPT 26
SI-CUT.DB live music for D-Fuse's 'Data Flow'
VJ Performance: D-Fuse
Nokia Lab, Moscow, Russia

SEPT 29
IRIS GARRELFS (live + DJ) + David Toop live
BiP_HOp @ Arborescence festival
Cabaret Aléatoire / La Friche - Marseille, France
http://www.arborescence.org
http://www.lafriche.org
http://www.bip-hop.com

OCT 28
SI-CUT.DB live
New forms Festival, Vancouver, Canada
http://www.newformsfestival.com/


================================
si-cut.db / iris garrelfs - releases
================================

JUST OUT:
si-cut.db 'Offices at Night Vol 1 - Originals'
recordings from 1999-2001 on Fallt. mastered by Benge.
Part 1 of a 3 CD set to be continued...
http://www.fallt.com
http://www.fallt.com/offices/index.html

SI-CUT.DB LATEST NEWS click here
http://home.earthlink.net/~efrans/benford/news.html

FREE DOWNLOAD
si-cut remix of a track ("Mates To Some Pilgrim")
by Rashamon, available as free download
from Highpoint Lowlife at:
http://www.highpointlowlife.com/rashamonremixproject/

CURRENT:
si-cut.db album 'find some shade'
on Highpointlowlife, CD (hpll 006) mastered by Twerk.
http://www.highpointlowlife.com

si-cut.db & full swing [und.and] stephan mathieu und douglas benford.
reciprocess +/vs.vol 2 (bip hop/fallt). cd (bleep 22)
http://www.bip-hop.com + http://www.fallt.com/+/vs/2/

si-cut.db back catalogue & rarities can now be paid via paypal
write to <xxxxxxx@xxxxx.xxxxx.xx.xx> for full list.

FUTURE:
new si-cut.db album on bip-hop, mastered by Twerk.

IRIS GARRELFS:
debut album due on Bip Hop near future...

================================
TENNIS (si-cut.db + benge)
================================

Upcoming tracks for Bip Hop generaton v.8 CD, and
Acoustic.Space.Lab : Radio Astronomy CD/DVD,
and the Tribryd unMix CD project, all TBA

CURRENT:  'FURLINES' double CD including remixes
http://www.bip-hop.com/

ALSO: original 1st Tennis album Wooden Sweets
still available, info <xxxxxxx@xxxxx.xxxxx.xx.xx>


THE SPRAWL WEBSITE ++ hosted by DFUSE
================================
++ sprawl events plus  EXCLUSIVELY thru' our website only
release mail order of SPRAWL IMPRINT, SUBURBS OF HELL &
PANTUNES classic 'retronica' catalogue. Paypal available.
http://www.dfuse.com/sprawl/sprawl_label.htm
http://www.dfuse.com/sprawl/sprawl_vaults.htm


best wishes

================================
Iris Garrelfs [BitTonic]
http://www.dfuse.com/BitTonic
http://www.dfuse.com/iris

si-cut.db [d.benford]
http://home.earthlink.net/~efrans/benford
http://www.bip-hop.com/
http://www.highpointlowlife.com
http://www.fallt.com
http://www.background-records.de

SPRAWL
http://www.dfuse.com/sprawl/
website hosted by d-fuse.com
E-MAIL <xxxxxx@xxxxx.xxxxx.xx.xx>



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From ???@??? Fri Sep  3 14:02:02 2004
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Date: Fri, 03 Sep 2004 14:28:47 +0100
From: Thanos Chrysakis <xxxxxxxx@xxxxxxx.xx.xx>
Subject: [microsound] FW: 2:13 festival call for entries
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Hi list,

....some days ago i received the e-mail below from a fellow
musician. Maybe it is of interest of some of you...

Thank you
Thanos
----------
> From: "nikos veliotis" <xxxxxxxxxxxxx@xxxx.xx>
> Date: Wed, 25 Aug 2004 23:51:47 +0300
> To: "nikos veliotis" <xxxxxxxxxxxxx@xxxx.xx>
> Subject: 2:13 festival call for entries
> 
> please do forward this email to anyone you think would be interested!
> 
> Dear all,
> 
> The 2:13 festival of experimental music in Athens Greece is going to celebrate
> its fifth year of activities this coming December (9,10 & 11). In this context
> we would like to invite experimental video artists from all around the world
> to submit videos to be screened during the festival.
> 
> Allthough there is no central theme or subject we ask that every video
> submited should last exactly 2minutes and 13 seconds.
> The selected videos will be screened during the 2:13 festival on the 9,10 & 11
> December 2004 before and after the concerts.
> Format: for preview please send VHS (pal & ntsc), dvd (european region only
> please) or mini dv. We are not able to return previews.
> Please include a short bio and still photo (on paper or cd)
> The 2:13 festival operates on a very small budget based on artist's initiative
> and small sponorships. Unfortunately we cannot offer a fee for selected
videos.
> Deadline: October 10  2004 (post stamped)
> 
> Please send your video to
> 
> 2:13 festival / nikos veliotis
> 25 Lefkosias str
> 11253 Athens
> Greece
> 


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From ???@??? Fri Sep  3 14:29:52 2004
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Date: Fri, 03 Sep 2004 14:42:39 +0100
From: Thanos Chrysakis <xxxxxxxx@xxxxxxx.xx.xx>
Subject: [microsound] sciencetunnel museum
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Hi there,

In july it happened to go to the sciencetunnel exhibition in Thessaloniki.
Worth checking.

keywords::

The Max-Planck-Society invites you to experience a virtual travel through
the dimensions of this world and onward to the outskirts of our knowledge.

 http://www.sciencetunnel.com/


regards
Thanos





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From ???@??? Fri Sep  3 15:36:05 2004
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Date: Fri, 03 Sep 2004 18:35:08 +0300
From: paulo raposo || sirr <xxxx-xxxxxx@xxxx-xxxxxx.xxx>
Subject: [microsound] TONE FELD @ Riga / Latvia
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Audiot presents an evening of audio and video live performances

TONE FELD

September 6th 2004 @ 19-24 h
Kluba DEPO
Riga, Latvia



featuring

sara kolster (nl)
paulo raposo (pt) 
mark mclaren (uk) 
selffish (lv) 
mutal (lv) 
audums [=my-ym] (lv)
oloolo (lv)


more info

http://www.audiot.lv
http://www.klubsdepo.lv




http://www.sirr-ecords.com


apologies for crossposting






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From ???@??? Fri Sep  3 15:41:13 2004
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Subject: [microsound] TONE FELD @ Riga / Latvia
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Audiot presents an evening of audio and video live performances

TONE FELD

September 6th 2004 @ 19-24 h
Kluba DEPO
Riga, Latvia



featuring

sara kolster (nl)
paulo raposo (pt) 
mark mclaren (uk) 
selffish (lv) 
mutal (lv) 
audums [=my-ym] (lv)
oloolo (lv)


more info

http://www.audiot.lv
http://www.klubsdepo.lv




http://www.sirr-ecords.com


apologies for crossposting






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Date: Fri, 03 Sep 2004 11:29:30 -0700
From: Ryan Dunn <xxxxxxxx@xxxxxxxxxx.xxx>
Subject: Re: [microsound] FW: 2:13 festival call for entries
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Excellent!  Thank you!

-ryan t. dunn
http://www.liscentric.com

On Sep 3, 2004, at 6:28 AM, Thanos Chrysakis wrote:

> Hi list,
>
> ...some days ago i received the e-mail below from a fellow
> musician. Maybe it is of interest of some of you...
>
> Thank you
> Thanos
> ----------
>> From: "nikos veliotis" <xxxxxxxxxxxxx@xxxx.xx>
>> Date: Wed, 25 Aug 2004 23:51:47 +0300
>> To: "nikos veliotis" <xxxxxxxxxxxxx@xxxx.xx>
>> Subject: 2:13 festival call for entries
>>
>> please do forward this email to anyone you think would be interested!
>>
>> Dear all,
>>
>> The 2:13 festival of experimental music in Athens Greece is going to 
>> celebrate
>> its fifth year of activities this coming December (9,10 & 11). In 
>> this context
>> we would like to invite experimental video artists from all around 
>> the world
>> to submit videos to be screened during the festival.
>>
>> Allthough there is no central theme or subject we ask that every video
>> submited should last exactly 2minutes and 13 seconds.
>> The selected videos will be screened during the 2:13 festival on the 
>> 9,10 & 11
>> December 2004 before and after the concerts.
>> Format: for preview please send VHS (pal & ntsc), dvd (european 
>> region only
>> please) or mini dv. We are not able to return previews.
>> Please include a short bio and still photo (on paper or cd)
>> The 2:13 festival operates on a very small budget based on artist's 
>> initiative
>> and small sponorships. Unfortunately we cannot offer a fee for 
>> selected
> videos.
>> Deadline: October 10  2004 (post stamped)
>>
>> Please send your video to
>>
>> 2:13 festival / nikos veliotis
>> 25 Lefkosias str
>> 11253 Athens
>> Greece
>>
>
>
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>
>


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From ???@??? Fri Sep  3 22:06:24 2004
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Date: Fri, 03 Sep 2004 22:05:59 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [ot] [gear] Nvidia as audio processor
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Sorry for another ot gear-slut post, but thought some of you might find 
this interesting:

http://www.tomshardware.com/hardnews/20040902_135943.html

Keywords: new methods of audio processing, video as audio

BTW, those of you on OS X, I recommend an app call SlashDock which lets 
you get news and RSS feeds on your desktop. An icon stays in the dock and 
lights up when you gets news from a source of your choice (incl. slashdot 
et al).

http://homepage.mac.com/stas/slashdock.html

"Computers in the future may weigh no more than 1.5 tons."
Popular Mechanics, 1949


=========
Phil Thomson
home: http://www.sfu.ca/~pthomson
label: http://centibel.org/
group: http://groups.yahoo.com/group/databenders/
=========

SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.

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From ???@??? Sat Sep  4 03:25:10 2004
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Date: Fri, 03 Sep 2004 20:25:03 -0700 (PDT)
From: Cordell Klier <xxxxxxxx@xxxxx.xxx>
Subject: [microsound] Re: hey, Cordell Klier
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sorry .. I live in MN... :) easy mistake to make.

Cordell

--- xxxxxxx@xxx.xxx wrote:

> i see that your from indiana, i live in
> southern indiana [accross the river from
> louisville] id like to hear your stuff one day
> -t



                
__________________________________
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take it off-list, critters


> sorry .. I live in MN... :) easy mistake to make.
>
> Cordell
>
> --- xxxxxxx@xxx.xxx wrote:
>
>> i see that your from indiana, i live in
>> southern indiana [accross the river from
>> louisville] id like to hear your stuff one day
>> -t
>


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X-OriginalArrivalTime: 04 Sep 2004 10:31:52.0093 (UTC)
 FILETIME=[64588CD0:01C4926A]

....as...
airs: every SUNDAY 00:00h 104.4FM [london, uk]
live streams: http://www.resonancefm.com
other places/times: http://www.worldtimeserver.com
contribute: b[at]estsoks.demon.co.uk

.........
05.09.04
Tom Løberg & Lasse Marhaug: one hour as Two Unlimited

Two Limited started as a project continuing some of the ideas that Tony 
Conrad had in the sixties. Wanting to expand minimal drone-based music, 
we started with two violins, each having only one string. (Which in 
reality was only a coincidence but later bacame an aesthetical issue.) 
We had no initial plan for these recordings other than that we wanted to 
do one recording each month for a year but became more and more 
preoccupied with experimenting with different types of spaces and their 
relationship to the sounds we were making. During this year and twelve 
recordings, we ended up playing in spaces as diverse as in a tunnel, an 
old ammunition storage, outside in the woods, as street musicians down 
town, in an echo-free chamber at the university, at an art gallery 
opening, to the screening of Leger's 'Ballet Mecanique' and at home, 
hooked up with contact microphones and electronics.

The sessions took place in 2002 in the city of Trondheim, Norway.

11 of the sessions were recorded on a Minidisc with a simple stereo 
microphone. The 12th recording (the march recording) was done with a 
dictaphone on microcassette. The complete recordings total 210 minutes. 
This 'one hour as..' session is a 60 minute mix using bits from all 
sessions, in chronological order. No effects have been added, except a 
slight mastering adding more bass.


It has been a pleasure. Thankyou for listening.

http://www.lassemarhaug.no/

.........
12.09.04
Circular : one hour as Inner Time Gardens.

A work recomposed using sections from earlier work as soon as new 
materials. Resonant metals and slow motion variations are the main 
elements in this piece.

http://users.skynet.be/P-ART/PARTWEB/14VARELA/VARELA.htm
Next schedule in Berlin Podewil September 1st, 2004 :
http://www.der-negative-horizont.de/index.html

Der Negative Horizont

Fr 01.10. – 20 Uhr Podewil - Saal

Circular
José Marchi (Elektrische Gitarre, Aufnahmen), Daniel Varela (Klavier, 
Aufnahmen)

Klang-Installationen, Ausstellung und Soundgalerie
Fr 24.09. - 2.10.
Eröffnung für alle Installationen: Do 24.09. - 18 Uhr
Täglich 14–18 Uhr außer sonntags, an den Veranstaltungstagen bis 23 Uhr

Solis Flamma (2003-2004)
Ausstellung von José Marchi (Buenos Aires) mit einer Soundinstallation 
von Circular (José Marchi und Daniel Varela)


.........

19.09.04
Cedric Peyronnet: kdi dctb 166 [a] [one hour as a well]

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

Sound piece designed around the audio recording of a well: "What does 
one hear at the bottom of a well by an end of day of August?"

[one hour as a well] - Pommier, Bellac (87), France
kdi dctb 166 [a] | 2004

This sound piece, designed around the audio recording of a well, done on 
26/08/2004 in Pommier, Bellac (87), France, is carried out within the 
framework of the [As] radio show on ResonanceFm in London.

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

Any hollow "tube" is a body which resounds according to the sound 
vibrations, and whose frequency of principal resonance is proportional 
to its diameter and its length.

A microphone "plunged" in this tube allows to collect this frequency 
which modulates and is modulated by the sounds of the sound environment 
in which it is.

Everyone made already the experiment to listen to the sounds through a 
plastic pipe, for example, and remembers in the way in which the 
surrounding sound was found coloured.

This principle was already applied in my work [1], in order to carry out 
a first sculpture of the sound of it (... "natural"), or simply to 
collect particularly marked acoustic situations (sound signatures of 
objects or places).

And after all, a well is nothing other than a tube whose diameter makes 
it possible however to obtain a significant low frequency band [2].

My parents have a well in their garden, located at 1km of a trunk road 
and under an air lane: I decided to put my ears at it.

The well is a kind of "hole" absorbing the sounds and the dye of its own 
sound signature ; it is not a sound source but an object with acoustics 
so particular that it colours the surrounding sounds in the continuous 
drone. These same surrounding sounds (motor vehicles, planes, wind, 
birds, insects...)"also play" of the well as a mouth would blow in a 
wind instrument.

It then becomes difficult to dissociate the "inside of the outside" [3].

kdi dctb 166 [a] [one hour have has well ] is a first ausio piece 
designed around this concept of the recording of the sound signatures of 
the wells ; it is carried out within the framework of the radio 
broadcast [As] on ResonanceFm in London.

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

Technical notes

Recorded : 26/08/2004 in Pommier, Bellac (87), France between 18h00 and 
19h00 ;
System : 2 omnidirectional microphones separated from 1m and laid out 
with 1m50 of depth inside the well;
Composed/mixed : 27/08/2004 ; Duration : 1h00 ; the piece consist of a 
simple superposition of the sequence of the rough recording of the well 
(1h00) + the same sequence played back an octave higher (0h30) + the 
same reversed sequence (0h30) ; no audio treatment was carried out.

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

[1] See for example kdi dctb 053 B, on phonography.org n°2

[2] the frequencies of resonance of this well are around 20Hz

[3] See, on this subject, the chapter "inside and outside" in "Le 
promeneur écoutant" of Michel Chion - ISBN 2-90803496-4


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

http://www.ingeos.org/site/article.php3?id_article=149
-------------------------------------------

.........
26.09.04
Antanas Jasenka/ Gintas K/ ...

tbc. more details later.

.........
....as... 2cdr
28 tracks on two cdrs. contributors: REIKO.A, joe colley, jason 
lescalleet, tetuzi akiyama, AMT, DSM, christophe charles, brendan walls, 
loren chasse, yannick dauby, kozo inada, rudolf eb.er, bruce russell, 
steve roden, kuwayama kiyoharu, seth nehil, stefan roigk, eric la casa, 
michael j. schumacher, david maranha, zbigniew karkowski, matt 
shoemaker, RLW, achim wollscheid, alexandre st-onge, utah kawasaki, 
christof migone,yasunao tone/mark fell. come wrapped in uniquely 
designed wax-proof paper.
buy online: http://www.resonancefm.com/shop.php
donate: http://www.resonancefm.com/support.htm
.........

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From ???@??? Sat Sep  4 10:57:00 2004
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From: Jair-Rohm <xxx@xxxxxx.xx>
Subject: [microsound] new release...
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High;

My cd "Exquisite Noise" is now up and available on cdBaby. For those 
of you who are interested in drones, noise and textual (rather than 
harmonic) organisation, check it out here: 
http://cdbaby.com/cd/jairrohmpw . Recorded, mixed and mastered 
entirely on my DPS12i. The greatest 16/44 production tool known to 
man!

Happy to all.


-- 
Jair-Rohm Parker Wells
Drone masterpieces and Loopadelica at:
http://www.soundclick.com/bands/6/jairrohmparkerwells.htm

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From ???@??? Sat Sep  4 13:42:50 2004
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From: monotonaut <xxxxxxxxxx@xxxxx.xx>
Subject: [microsound] TCM / SEMAPHORE  -Dunkerque
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TCM / SEMAPHORE 

Mapping Acoustic Space of Radio Communications /
Tracking cargo traffic from Baltic and North Seas to
the Channel 

Dunkerque - France, 13-25 September 2004 

Organized by Ellipse and La Plate-forme 
http://e-ngo.org 

From 13 to 25 September 2004, musicians, media artists
and radio-amateurs from the Trans-Cultural Mapping
Initiative will scan the acoustic space of radio
communications and track with radar the cargo traffic
between Dover (UK) and Dunkerque (Fr). This is the
narrowest part of the Channel (where the EuroTunnel
passes underneath the sea) and carries the most
important cargo traffic in Europe. Tankers,
supertankers, and military boats pass in front of
Dunkerque, heading towards Brest, Rotterdam,
Copenhagen, Rostock, Gdansk or Ventspils. 

General themes of the residency, will be maritime
ecology and spectrum ecology. The residency work will
also be inspired by the story of the Prestige oil
Tanker, and the Semaphores located along the coastline
of France. 

The Prestige 

The Prestige oil tanker left Ventspils and passed by
Dunkerque before crashing on the coast of Portugal.
The Prestige is one of many ships that collect oil
sent by train from Russia to Ventspils
harbour(Latvia), and head towards the Atlantic. But as
we know, often international maritime laws are not
well respected, and irresponsible oil companies have
contributed to many black seas on this route in the
past 30 years. 

Semaphores 

The residency also aims to investigate the role of the
semaphores (Semaphores are the control towers on the
coast of France), and their use of radio
communications, radar, sonar, meteorology, sea rescue
and military surveillance. 

The residency will be part of the European Industrial
Ports Culture Festival, „Lignes de fret : god save the
kranes‰, organized by the association Nautilosh ˆ
Jokelson and the work will be developed in
collaboration with the artists of La Plate-forme and
the Rock Charity Hospital. A container will be
established on the port for each project. 

For more details : 
http://www.nautilosh.org 

During the residency, access to the port Control Tower
and to the tug boat will be organised for the
residents. Access to the navy database of maritime
international cargo traffic will also be given.
Artists and TCM organisers will explain their
initiative in conferences and musicians will give
performances in industrial, experimental and
electronic dance music genres. A final performance
will be staged using material recorded during the
residency and accompanied by live radio scanning and
radar tracking. 

Results of the residency will be presented in the
Art+Communication Festival held in Riga (1-3 October)
by the RIXC, Center for New Medias Culture. Artists :
Aphasic (NL), Clausthome (LV), Max Nullo (SI), r a d i
o q u a l i a (NZ), Ewen Chardronnet (Fr) 

http://www.rixc.lv 

---- 

- Aphasic - Infosphere Dub (NL) 

Performance using two laptops and modified dub sound
system sound effects unit. 

Laptop 1 - live digital signal processing of radio
communications and satellite TV signals using Ableton
LIVE software. Laptop 2 - random and improvised
composition of edited sound recordings using <earshot>
software. These files made on location and may
include: radio/TV satellite signals, other site
specific sound sources, and interviews with other TCM
participants. Dub sound system sound effects unit -
this modified dub sound system effects unit will be
used to add layers of lazer/siren effects to the live
composition. 

Aphasic profile: "This is about the most electric and
instantaneous high that music can provide." Keith
Cameron from The N.M.E on Aphasic's "Bass &
Superstructure" E.P. 

Aphasic (aka Jason Skeet) has been moving through a
dynamic acoustic zone for several years. He is a
pioneering proponent of fast, funky experimental dance
music, and since 1996 he has co-run the influential
label Ambush. Determined to push electronic dance
music to new extremes, Ambush has now inspired a whole
generation of lo-fi producers. [http://ambush.c8.com] 

In 2003 Aphasic started a new label JUNK, dedicated to
exploring further the gap between the dance floor and
the avant-garde. Taking differing measures of drum &
bass, hardcore techno, hip-hop, dancehall ragga,
gabber and dub, JUNK aims to release music that is
dark, groovy and highly infectious. Most of all, it
marks itself out as an essential assault on the hyper
conservative landscape of contemporary culture.
[http://www.j-u-n-k.com] 

In parallel with dance music projects, Aphasic has
worked on developing <earshot> (in collaboration with
Andi Freeman), an audio software downloadable for free
from the web. <earshot> has a unique interface design
enabling particular compositional possibilities, and
proposes that an audio software can be seen as a
musical instrument in its own right. <earshot>
presentations, performances and workshops have been
made at various electronic arts and digital culture
events throughout Europe over the last few years.
[http://www.earshot.info] 



- Clausthome (LV) 

Clausthome is a group of musicians and artists based
in Riga who aims to analyse several new directions of
the music subculture, while experimenting and
participating in the field. Clausthome is mainly
working with 'dark ambient' , 'drum&noise' and
'radio-noise' that is based on sound research. 

They use radio (ether) structure, data gathered by
radio telescopes and archives of universe research
data servers. This information, processed through
sound alteration programs is used as the starting
point of and base for future materials, when in live
performances through mixing and synthesizing they
create sound environment. 

The name 'Clausthome' describes as an open
experimentation phase, where these authentic audio
samples are used without specific processing, and
without making any references to the source they come
from. It is a process of translation and
transformation that leads towards awareness of that
potential environment, which can be created using the
gathered material. 

The Clausthome are: Lauris Vorslavs (mixing), Girts
Radzins (experimentation) and Raimonds Berzins
(keyboard). 

For the Dunkerque residencies the musicians will
participate as Clausthome: mixing both - received
signals from the radars and other scanning devices in
Dunkerque port, and their live 'techniques': the
spectrum of analogue radio receivers, which will be
sent through effect processor and modulation machine.
Also pre-programmed samples of the Irbene radio
telescope data will be used for the final performance.



- Max Nullo (Projekt Atol, SI) 

Aljosa Abrahamsberg, aka Max Nullo, is musician, a
radio-amateur expert and a core member of Makrolab
technical crew and Projekt Atol's audio-visual
performance Signal Sever! Transignal. 

For Dunkerque, Aljosa Abrahamsberg will set up the the
sensor array conceptualized by Projekt Atol - Pact
Systems for Signal Sever! Transignal which maps the
electromagnetic spectrum. In addition the Pact Systems
Radar Unit tracks air and maritime traffic and display
it for the audience. 

http://makrolab.ljudmila.org 


- R a d i o q u a l i a (NZ) 

r a d i o q u a l i a is an art collaboration from New
Zealand. Since 1999 r a d i o q u a l i a has been
based in Europe, maintaining active links with the New
Zealand art community. The participants are New
Zealanders, Honor Harger and Adam Hyde 

r a d i o q u a l i a experiments with the concept of
artistic broadcasting, using the internet and
traditional media forms, such as radio and television,
as primary tools. We are also interested in ways that
audio can be used to illuminate abstract ideas and
processes. We work in gallery, performance, broadcast
and publishing contexts. 

r a d i o q u a l i a will undertake a project
entitled 'dissonance'. The project will focus on
researching and building a hydrophone during the
residency to be used with a new software created by r
a d i o q u a l i a . The software will scan the
acoustic space of water. The software will listen to
maritime communications (generated by humans and
non-humans alike) via the hydrophone and generate
sound collages. The process of building the hydrophone
will be thoroughly documented, and the software will
be released as Open Source. A subsequent performance
by r a d i o q u a l i a will feature sounds recorded
by the hydrophone and acoustic space scanning
software. 

http://www.radioqualia.net 


- Ewen Chardronnet (Ellipse, Fr) 

Artist and researcher in information systems, working
as video maker, journalist, new media arts and space
arts events organiser. He‚s the author of the
anthology " Quitter la gravité " (leaving gravity) for
the Association of Autonomous Astronauts (Editions de
l‚Eclat, 2001), and he won the xxxxxxxx-@xx Outsiders
New Horizons Prize for the ACOUSTIC SPACE LAB - OPEN
SKY installation which was presented at the Maison
Européenne de la Photographie in Paris during its @rt
Outsiders festival in 2003. 

Ewen Chardronnet is TCM project coordinator for
Ellipse. He will organise project logistics,
relationships with the local partners and the Navy
Control Tower of the port of Dunkerque. 

As a specific project, he will document in video the
SEMAPHORE residency and set the Makrolab Radar unit
with Aljosa Abrahamsberg to track the cargo traffic in
the Channel. 

http://e-ngo.org 

---- 

Public events : 

16 september 2004, 18 h, Jokelson, Port Autonome
Conférence, videos and presentation of the
Trans-Cultural Mapping program With Ellipse and the
artists 21h30 : Marc Ducret Trio (Paris) 

17 september, 2004, 21h30, Jokelson, Port Autonome
Concert with Karochi (DK), Tricky Lobsters (Rostock,
De), Pustki (Gdansk, Pl), Aphasic (NL), Clausthome
(Riga, Lv) and the Semaphore residents. 

24 september, 21 h, Jokelson, Port Autonome Cabaret
concert organised by Rock Charity Hospital 

25 september, 21 h, Jokelson, Port Autonome Final
Concert - Performance of the residency Mapping
Acoustic Space of Radio Communications 

---- 

The "Mapping Acoustic Space of Radio Communications"
residency is organised in the context of the Culture
2000 program « Trans-Cultural Mapping ». The lead
organisation is the RIX-C, The Center for New Media
Culture (RIXC) of Riga (Latvia) and the 6
co-organisers are : Piknik Frequency organisation
(Helsinki, Finland) ; x@x (Liepaja-Karosta, Latvia) ;
TEKS (Trondheim, Norway) ; Lorna, The Association of
Electronic Artists (Reykjavik, Iceland) ; Projekt Atol
(Ljubljana, Slovenia) ; and Ellipse (Tours, France). 

Mapping Acoustic Space of Radio Communication is
supported by Trans-Cultural Mapping EU Culture 2000
program, the Fondation de France, the association
Plate-forme of Dunkerque, the association Nautilosh ˆ
Jokelson of Dunkerque, the Port Autonome of Dunkerque
and the City of Dunkerque. 

http://e-ngo.org

=====
http://freewebs.com/brokensleep

______________________________________________________________________ 
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From ???@??? Sat Sep  4 18:49:02 2004
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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] hotline client for OS X?
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anyone recommend a good hotline client for OS X?


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From ???@??? Sat Sep  4 18:54:09 2004
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From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] [ot] hotline client for OS X?
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> anyone recommend a good hotline client for OS X?

Heidrun.

http://www.netsafir.com/~granma/heidrun.html

P



"Computers in the future may weigh no more than 1.5 tons."
Popular Mechanics, 1949


=========
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From ???@??? Sat Sep  4 19:04:50 2004
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I can't seem to connect to the Hotline server with my OS9 
client...anyone else having difficulty?


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status: connection refused
on a winXP machine

/björn

> I can't seem to connect to the Hotline server with my OS9
> client...anyone else having difficulty?
>


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From ???@??? Sun Sep  5 01:30:26 2004
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Date: Sat, 04 Sep 2004 18:30:21 -0700 (PDT)
From: Cordell Klier <xxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Re: hey, Cordell Klier
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it's been off list critter :(

Cordell

--- "hm.." <xxxxxxxx@xxx.xxx.xx> wrote:

> take it off-list, critters
> 
> 
> > sorry .. I live in MN... :) easy mistake to
> make.
> >
> > Cordell
> >
> > --- xxxxxxx@xxx.xxx wrote:
> >
> >> i see that your from indiana, i live in
> >> southern indiana [accross the river from
> >> louisville] id like to hear your stuff one
> day
> >> -t
> >
> 
> 
>
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> 



                
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From ???@??? Sun Sep  5 06:33:41 2004
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Hi folks,

Hope you're all well - there is a last minute addition to the show this
week... Toshimaru Nakemura joined me on the phone from Japan late last night
and I will be featuring the chat on Symbiosis tonight.

If you're in Melbourne - 102.7 FM
Everywhere else - www.rrr.org.au (Realaudio stream)

Toshimaru is coming to Australia to play shows with Brett Larner (more info:
http://impermanent.info). They are celebrating their new collaboration,
"After School Activity" on Impermanent Recordings
(http://impermanent.info/recordings/)

Hope you can tune in..

Simon.

Symbiosis - Experimental Sound Textures and Rhythms
Sunday nights, 12am - 2am
102.7 FM / www.rrr.org.au
Melbourne, Australia

xxxxx@xxxxxxxxx.xxx.xx
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From ???@??? Sun Sep  5 15:27:45 2004
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frogblast works great for me.
bruce

On Sep 4, 2004, at 2:48 PM, Kim Cascone wrote:

> anyone recommend a good hotline client for OS X?
>
>
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> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
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>
>
bruce tovsky
www.skeletonhome.com


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kim
fwiw, frogblast returns a "bad address. the server address is invalid"
message when i try and connect to microsound.synthesizer.org
with the info you sent me.
cheers
bruce

On Sep 4, 2004, at 2:48 PM, Kim Cascone wrote:

> anyone recommend a good hotline client for OS X?
>
>
> ---------------------------------------------------------------------
> 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


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From ???@??? Sun Sep  5 15:52:07 2004
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On 04/09/04 14:48, Kim Cascone said in living color:

> anyone recommend a good hotline client for OS X?

It's not really an Hotline client (though it did connect to Hotline servers
in earlier incarnations, apparently), but some people might be interested in
checking out the "Wired" client.

Very similar to Hotline, but a redesigned protocol. In terms of BBS apps
available on OS X, it's probably the most promising. Two of its big features
that Hotline doesn't have are support for encrypted transport and Unicode
(yé!). And, best of all, it's all open (the protocol, the source for the
client/server, etc.)

http://www.zankasoftware.com/wired/

g.

-- 
Guillaume Grenier - xxxxxxx.x@xxxxxxxxx.xx

"Things are more like they are now than they ever were before."

(Dwight Eisenhower)



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From ???@??? Sun Sep  5 21:16:35 2004
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Date: Sun, 05 Sep 2004 17:19:42 -0400
From: richard chartier / LINE <xxxxxxxx@xxxxxxxxxx.xxx>
Subject: [microsound] RICHARD CHARTIER > 09.04 > new releases > events > SET OR
 PERFORMANCE & EDITION 4CD out now
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hello to all of you,
autumn is coming......
the leaves will turn...for the better i hope....

r


- NEW / RECENT RELEASES

 > CD OUT NOW . William Basinski + Richard Chartier [ Spekk, Japan ]
 > CD OUT NOW . CHESSMACHINE [ Mutek_rec, Canada ]  (collaboration with  
COH/Ivan Pavlov)

 > OUT NOW . Set or Performance  [ LINE, NY  ]  first Live performance  
recording release. recorded live to disc at VOLT/AA deep listening  
event held at SAT [ Montreal, Canada ] December 2003. Shipping on Sept  
7.

 > 4CD OUT NOW . Edition [ LINE, NY ]
In celebration of LINE's 4th anniversary documenting installations and  
works by composers exploring the aesthetics of contemporary and digital  
minimalism we are proud to announce the release of this special limited  
edition packaging 4 CD set entitled Edition. Edition is a collection of  
the 4 critically acclaimed full length LINE cd releases: Series from  
2000 (LINE_001), Of Surfaces from 2002 (LINE_008), Two Locations from  
2003 (LINE_013), and the brand new live recording Set or Performance  
(LINE_018). For more information on each CD please view them in the  
LINE catalog and reviews section. This special re-packaging release is  
strictly limited to 100 signed and numbered units. Lavishly yet simply  
designed, Edition is a double gatefold package offset printed in 3 inks  
in which the CDs rest on high density foam hubs separated by diecut  
vellum sheets. Liner notes from each original sleeve are reprinted  
within. This cd will only be available through the 12k/LINE website  
store, 3particles.com, and my live shows.

a very limited number of signed copies of these releases are now  
available
via the 3particles pay pal shop:  http://www.3particles.com/paypal
the next 30 orders will receive a free 3particles button designed  
by.... me. :)


- ONLINE MUSIC

 > DOWNLOAD . Silver has been made available for free download as part  
of the LOOP1 online compilation. http://www.loop.cl
or international users:  
http://www.archive.org/audio/audio-details-db.php? 
collection=soulseek_artists&collectionid=loop01
 > DOWNLOAD . Two Locations and out of print 0/R (with *0/Nosei Sakata)  
projects soon to be available via Apple's ITUNES Store.


- UPCOMING EVENTS

 > EXHIBIT . "Herein, Then" in Ecoute @ Centre Pompidou [ Paris, France  
] Sept 2004-Jan 2005
 > LIVE . Decibel Festival [ Seattle, Washington, US ] Sept 25, 2004   
http://www.decibelfestival.com
 > LIVE . San Francisco Art Institute [ SF, US ] Oct 20, 2004
 > LIVE .  12k/LINE/Apestaartje showcase shows @ Tonic [ NYC ] November  
(date to be confirmed)
 > LIVE . Presences Electronique [ Paris, France ] February 2005
 > DJ . MIES @ Blueroom [ Washington, DC ] This is my new bi-weekly  
night that I am hosting and DJing. http://www.3particles.com/mies



- UPCOMING RELEASES, ETC

 > 2x12" . 1.8 compilation. The compilation will be 2x12" records with 4  
tracks, 8 artists on each. Each artist has contributed a 1.8 second  
sound file to be a lock groove. Each work ends with another artists'  
lockgroove. Includes tracks by Richard Chartier, Tim Hecker, Mitchell  
Akiyama, Duul_Drv, Taylor Deupree, Kim Cascone, 3x3is9, Roel Meelkop.  
Autumn 2004. (1.8)sec.records is an electronic label based out of  
Canada.  (1.8)sec.records LP releases utilize the physical properties  
of the medium within each release.

 > LP . Retrieval  [ ERS, The Netherlands ] 2004. my first solo vinyl  
release. Autumn 2004. This will be two works that were created at my  
artist residency at the Music Research Centre @ York University, UK.  
based on soundfiles and loops of mine from 1990-1993.

 > BOOK . "On the surface of silence: reticence in the music of Richard  
Chartier" by Will Montgomery in BLOCKS OF CONSCIOUSNESS AND THE  
UNBROKEN CONTINUUM. Publisher: Sound 323. Editors: Brian Marley+Mark  
Wastell. Fall 2004

 > CD . Placode [ n160, Japan ]  delayed: Nov 2004. This elaborately  
aluminum packaged cd compilation curated by Nibo [ LINE/Raster-Noton]  
will contain the piece "retrieval#3(for placodes). artists on this  
compilation: Carsten Nicolai, Christophe Charles, Frank Bretschneider,  
Nibo, Byetone, Richard Chartier, Sachiko.M, Sogar, Steve Roden, Taylor  
Deupree, and Otomo Yoshihide. http://www.n160.com

 > 2CD . POST-POST-FABRICATED [ DSP Recordings, Italy ]  Winter 2005.  
This 2CD project will have the reformed/remastered Post-Fabricated CD  
(originally issued on CDR on Dutch label Microwave in 1999 as an  
edition of 200). I was never happy with the sound quality of the final  
master due to the engineer and my analog recording limitations at the  
time. I recently uncovered the original sound file elements backups and  
have reconstructed it in its full digital vitality. This is an odd  
recording for me, which you could say is my most "pop" release in its  
quirky rhythmic elements. The second CD will be comprised of  
remixes/reworkings from the original files by Frank Bretschneider, COH,  
Taylor Deupree, Freiband, Goem, Carsten Nicolai, Sogar, SND, Asmus  
Tietchens, Vend, and others including one by me. Unreleased works from  
the 1998 sessions may be included as well.  http://www.dsprecs.com

 > CD . Kapotte Muziek re-working commissioned for Korm Plastics. 2005

 > CD . SPEC.2 / Specification.fifteen with Taylor Deupree [ LINE ]  
2005. initial work has begun on this collaboration. It will be based on  
our collaborative performances in Rome and Madrid in March and our ICC  
installation.

 > PRINT . "L-NExtraction" limited edition of 30 signed/numbered edition  
4 color process iris graphic print on archival rives BFK. more details  
to come.

 > CD . Arrangements (working title) [ Raster-Noton. Germany ] 2005


 >>>>>>   CHARTIER ONLINE SHOP: http://www.3particles.com/paypal   
<<<<<<<<<<<<<<<<<
--Boundary_(ID_Qo/kIWZy8g51dG47zwkMzg)--

From ???@??? Sun Sep  5 21:36:57 2004
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Subject: [microsound] bernahrd gunter
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 FILETIME=[671E4FF0:01C49390]

does anyone know of a website where i can hear samples of Bernhard Gunter's 
work, in particular the "Monochrome White / Polychrome / Neon Nails" album?

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From ???@??? Mon Sep  6 01:08:52 2004
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From: Larry Johnson <xxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] bernahrd gunter
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Hello,

There are three Real Audio clips of some of his other works at
http://www.aquariusrecords.org/cat/audio.html .

Best,

Larry
----- Original Message ----- 
From: "sarah-michelle geller" <xxxxxxxxxxxxxxxxxxx@xxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, September 05, 2004 4:36 PM
Subject: [microsound] bernahrd gunter


> does anyone know of a website where i can hear samples of Bernhard
Gunter's
> work, in particular the "Monochrome White / Polychrome / Neon Nails"
album?
>



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From ???@??? Mon Sep  6 01:44:40 2004
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From: Dale Lloyd <xxxxx@xxx-xxx.xxx>
Subject: Re: [microsound] RICHARD CHARTIER > 09.04 > new releases > events >
 SET OR PERFORMANCE & EDITION 4CD out now
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richard chartier / LINE <xxxxxxxx@xxxxxxxxxx.xxx> wrote:
> LIVE . Decibel Festival [ Seattle, Washington, US ] Sept 25, 2004 
http://www.decibelfestival.com

Ah, now I have a good reason to go to this!  ;-)
 
Best, Dale
 
 


Dale Lloyd: http://www.and-oar.org/dalelloyd.html
and/OAR: http://www.and-oar.org/
--Boundary_(ID_noeULoD9jAeLPVBbWK+fog)--

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Subject: [microsound] New AUX-IN release : josh russell
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+++

+ New Aux-In Release : josh russell Live in Austin / February 2004

bremsstrahlung recordings label curator josh russell serves up a
hefty live set with an impressive catalog of sound sources
(meticulously detailed on the back cover of the packaging). This
hour-long journey through a vast expanse of sonic minutiae comes
complete with its own digital fold-out blacklight poster.

Available for download + streaming now:

>[ http://www.stasisfield.com/aux-in/sfa-006.html ]


+++

+ Upcoming on Stasisfield

Sonic Network Analysis - Stage 03 documentation of April's live
performances by J3, Dartanjal and Reliable Sound Products during
Chicago's Version Festival

MP3 EP release by My Fun

---

+ Out Now on Stasisfield

- [ Stasisfield : Year 02 ] -

mp3/video CDR archive of every Stasisfield release in the year 2003 -
more than seven hours of audio featuring 90 minutes of previously
unreleased bonus audio and 100 previously unreleased desktop
photographs

[ http://www.stasisfield.com/shop/year02_details.html ]

---

- [ Digital Art Prints by john kannenberg ] -

Nine limited-edition signed digital art prints reproduced on
museum-quality archival paper, shipped flat and suitable for framing

[ http://www.stasisfield.com/shop/prints.html ]

+++

   =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

As always, thanks for listening.

john

-- 
-- 

>>

john kannenberg

[ http://www.johnkannenberg.com ]

[ http://www.stasisfield.com ]

--

OUT NOW.

--

in The Diagram > "Landscape I : Vanishing Point" :  annotated graphic score

[ http://www.thediagram.com/4_3/ ]

--

on Grain of Sound > "indeterminate topography" : 6 new digital image 
compositions
in the premiere issue of Sonic Scope Quarterly, a visual arts magazine

[ http://www.grainofsound.com/gos_v3/news.htm ]

--

on Retinascan > Gelidus : A sonic interpretation of extreme cold in six parts

[ http://www.retinascan.de/compactdiscs/fcd35.htm ]


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From ???@??? Mon Sep  6 05:09:58 2004
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Date: Mon, 06 Sep 2004 15:09:37 +1000
From: shannon o'neill <xxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: [microsound] [Sydney] Disorientation
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Disorientation - live electronic audio/visual performance

Thursday September 9, from 8pm
Lanfranchi's Memorial Discotheque ­ 2/144 Cleveland St Chippendale, Sydney 
Australia.
Entry by $7/$5 donation

Presented by the UTS Sound Collective and supported by 2SER, 2MBS, 2RRR, 
Bondi Intermusic and Lanfranchi's Memorial Discotheque.

Disorientation is a monthly night of electronic audio-visual performance at 
Lanfranchis Memorial Discotheque in Chippendale. The event aims to present 
innovative work by both established and emerging electronic artists while 
simultaneously expanding the audience for such work.

This month Disorientation features:

Inge Olmheim & Anthony Guerra
The Process Void
Toecutter

Inge Olmheim & Anthony Guerra: mysterious lowercase electroacoustic 
improvisation. http://www.abc.net.au/arts/adlib/stories/s916936.htm

The Process Void: a Sydney based project under the guidance of Alex J 
(Wise). The Process Void has been operating for a year churning out 
material with elements influenced by the likes of Skinny Puppy, Wire, Big 
Black and Nitzer Ebb. The music of PV ranges from melodic arpeggiated 
electro, industrial rock to structured rhythmic noise as well as occasional 
cut-ups. Thought provoking, hypnotic, occasionally cold and dry humoured is 
what one would describe The Process Void. PV has a site which can be found 
at www.theprocessvoid.com

Toecutter: demented breakcore. Toecutter is a key member of System Corrupt.
http://www.systemcorrupt.com/toecutter/



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From ???@??? Mon Sep  6 07:17:51 2004
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Subject: [microsound] Sonasphere for OsX
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--Boundary_(ID_d2yakA1e3SNgu1akF60NBg)
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Hello Edward X Here I been A huge fan of experimental music and  experimental 
concepts in creating music I'm personal A PC user But A cam across  
Sonasphere for OSX I watched the demo And was IMpressed by what the program does  I was 
wondering if ther are in Artist out the using this program And if they be  
intrested in collaborating with us here @ the MG3Nc Project or know of any  
program that does this that runs on a pc..
 
Thanlks for any help 
--Boundary_(ID_d2yakA1e3SNgu1akF60NBg)--

From ???@??? Mon Sep  6 08:35:29 2004
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From: Jair-Rohm <xxx@xxxxxx.xx>
Subject: [microsound] new release...
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High;

My cd "Exquisite Noise" is now up and available on cdBaby. For those 
of you who are interested in drones, noise and textual (rather than 
harmonic) organisation, check it out here: 
http://cdbaby.com/cd/jairrohmpw .

Also, i am looking for opportunities to perform in  Europe in the 
late fall/early winter this year. I live in Sweden and welcome dates 
anywhere in the UK or on the continent. Any and all help would be 
greatly appreciated.

Thanks;

Jair-Rohm Parker Wells

-- 
Hear and buy "Exquisite Noise" at cdBaby
http://cdbaby.com/cd/jairrohmpw

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Subject: [microsound] radio
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--Boundary_(ID_S41f8u8/bBiJ4i9TZm/dxQ)
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4:53am
stream
....
charles aznavour
erik satie
barbara morgenstein
joe hisaishi
adnreas mugge
devendra banhart
frank bretschneider
....

www.rinfm.com
www.rinfm.com/rin.pls [listen]

thanks

Godo.
+56 9 355 52 71
+56 2 313 95 89
+56 2 292 92 20
http://godo.pictomotion.com

--Boundary_(ID_S41f8u8/bBiJ4i9TZm/dxQ)--

From ???@??? Mon Sep  6 20:20:46 2004
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Date: Mon, 06 Sep 2004 16:20:40 -0400 (EDT)
From: Abflug <xxxxxxxxxx@xxxxx.xx>
Subject: [microsound] New distributor for Abflug
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We're happy to announce that Abflug's new worldwide
distributor is German Nexus Distribution,
www.nexusound.com. It'll still take a little while for
Nexus to add our releases to their catalogue, but
retailers interested in ordering Abflug CDs through
Nexus can already contact them for details. We're also
strenghtening our co-operation with Cumbersome
Distribution in Australia. See our website at
www.abflugrec.com for a full list of our distributors.

---------------------------------------------------->

Abflug Special
Thursday, Sep 16 @ Mbar, Helsinki, Finland
2100-0200

Verhaverbeke Krzyzosiak (Abflug, live)
Kumi (DJSS, DJ)
Karri O. (Abflug, live/DJ)

Free

www.abflugrec.com
www.mbar.fi


______________________________________________________________________ 
Post your free ad now! http://personals.yahoo.ca

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congrats to abflug :)
----- Original Message ----- 
From: "Abflug" <xxxxxxxxxx@xxxxx.xx>
To: <xxxxxxxxxxxx_xxxxx@xxxxxxxxxxx.xxx>; <xxxxxxxxxxxxxxx@xxxxxxxxxxx.xxx>;
<xxxxxxxxxx@xxxxxxxxx.xxx>; <xxxxxxxx@xxxxxxxxxxx.xxx>;
<xxxxxxxxxxxxxx@xxxxxxxxxxx.xxx>; <xxx-x@xxxxxxxxxxx.xxx>;
<xxxxxxxx@xxxxxxxxxxx.xxx>; <xxxxxxxxxxxxx@xxxxxxxxxxx.xxx>;
<xxxxxx_xx@xxxxxxxxxxx.xxx>; <xxx@xxxxxxxxxxx.xxx>;
<xxxxxxxxx@xxxxxxxxxxx.xxx>; <xxxxxx@xxxxxxxxxxx.xxx>
Sent: Monday, September 06, 2004 9:20 PM
Subject: [microsound] New distributor for Abflug


> We're happy to announce that Abflug's new worldwide
> distributor is German Nexus Distribution,
> www.nexusound.com. It'll still take a little while for
> Nexus to add our releases to their catalogue, but
> retailers interested in ordering Abflug CDs through
> Nexus can already contact them for details. We're also
> strenghtening our co-operation with Cumbersome
> Distribution in Australia. See our website at
> www.abflugrec.com for a full list of our distributors.
>
> ---------------------------------------------------->
>
> Abflug Special
> Thursday, Sep 16 @ Mbar, Helsinki, Finland
> 2100-0200
>
> Verhaverbeke Krzyzosiak (Abflug, live)
> Kumi (DJSS, DJ)
> Karri O. (Abflug, live/DJ)
>
> Free
>
> www.abflugrec.com
> www.mbar.fi
>
>
> ______________________________________________________________________
> Post your free ad now! http://personals.yahoo.ca
>
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>
>
>



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From ???@??? Mon Sep  6 20:35:53 2004
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Date: Mon, 06 Sep 2004 16:41:01 -0400
From: Al C <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] New AUX-IN release : josh russell
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on 9/5/04 10:03 PM, john kannenberg at xxxx@xxxxxxxxxxx.xxx wrote:

> +++
> 
> + New Aux-In Release : josh russell Live in Austin / February 2004
 
> Available for download + streaming now:

Nice release John & Josh! Highly recommended to all microsounders.

albert
 


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From ???@??? Mon Sep  6 22:47:02 2004
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Date: Mon, 06 Sep 2004 16:46:54 -0600
From: Ronnie Cramer <xxxxxxx@xx.xxxxxx.xxx>
Subject: [microsound] Pillow Girl in GA-PA-HI-NY-UK-OH
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Greetings All:

For those interested in audio/video integration, here are some upcoming
screenings for PILLOW GIRL (http://cultfilms.net/Pillow%20Girl/index.htm),
the film version of my recent audio piece for the Museum of Contemporary Art
Denver:


Sept. 11th
Chattahoochee Film Festival
Columbus, GA
http://www.columbusfilmsociety.com


Sept. 16th-19th
Great Lakes Film Festival
Erie, PA
http://www.greatlakesfilmfest.com/film_fest/2004/films/pillow_girl.html


Sept. 17th-23rd
Cinema Paradise Film Festival
Honolulu, HI
http://www.cinemaparadise.org


Sept. 18th-Nov. 6th
Athens Institute for Contemporary Art
Athens, GA
http://www.athica.org/


Oct. 1st-3rd
Coney Island Film Festival
Brooklyn, NY
http://www.coneyislandfilmfestival.com/


Oct. 1st-10th
Raindance Festival
London, UK
http://www.raindance.co.uk/


Oct. 10th
Interactive Media Forum
Miami University
Oxford, OH
http://student.sba.muohio.edu/ims/conference/agenda2.htm


The OH gig will be in conjunction with a concert featuring a live version of
the original audio elements.

Best wishes,
Ronnie Cramer
http://ronnie.cramer.net/trends/





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From ???@??? Mon Sep  6 23:52:57 2004
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On 9/7/04, derek holzer said something like:

>Wonder Mike,
>IRCAM Musical assistant, Free Software visionary and poet.

Derek-

I'm sure that Wonder Mike is a lovely guy, but you might give a tip of
the hat to the guys that wrote and performed your quotation: the
Sugarhill Gang.

Don't everyone know "Rapper's Delight?"  Pretty much defined NYC in the
Fall  of '79, put Rap in the top-40 and sold many millions of copies.

Best,

Charles


<xxxxxxxx@xxxxxxxxx.xxx>

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On 9/7/04, derek holzer said something like:

>Wonder Mike,
>IRCAM Musical assistant, Free Software visionary and poet.

Derek-

I'm sure that Wonder Mike is a lovely guy, but you might give a tip of
the hat to the guys that wrote and performed your quotation: the
Sugarhill Gang.

Don't everyone know "Rapper's Delight?"  Pretty much defined NYC in the
Fall  of '79, put Rap in the top-40 and sold many millions of copies.

Best,

Charles


<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Mon Sep  6 23:16:54 2004
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Subject: [microsound] FW: PURE DATA TRIGGER GANG BANG 01 > call for patches
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pdtgb01 announce v1.0
------------------------------------------------------------
                               PURE DATA TRIGGER GANG BANG 01
                                           > call for patches
------------------------------------------------------------

"I said a hip hop,
Hippie to the hippie,
The hip, hip a hop, and you don't stop, a rock it
To the bang bang boogie, say, up jump the boogie,
To the rhythm of the boogie, the beat."

Wonder Mike,
IRCAM Musical assistant, Free Software visionary and poet.

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


Bots, Ladies and Gentlemen,

For the very first time ever, a Pure-Data friendly demo
contest is organized. Everyone is encouraged to participate
by submiting original or previous works (as long as they
respect the rules of this event). No matter your level of
geekness or if you can spell the word art without mistakes.

WE WANT YOUR PATCH.

we don't give a fuck about 1st prize or winners, participate
and you work will be published on the website of goto10, a
non profit .fr organization dedicated to promote and support
digital art events.
Last but not least the received patches will be shown in a
permanent installation at graz during the pd_convention~04.

FORWARD THIS MAIL TO ANYONE (EVEN NOT INTERESTED)
SUBMIT YOUR WORK UNTIL THE 25th of SEPTEMBER.
READ THE RULES.
ASK FOR SUPPORT.
TEAM UP.
LEARN.


------------------------------------------------------------
                                                        RULES
                                    > respect or burn in hell
------------------------------------------------------------

- patch type : fully automated/scheduled/generative NO
               INTERACTIVITY

- content    : audio AND video (choose your favourite weapon
                PDP/PiDiP,  Gem, Framestein, GridFlow). Note:
                After the joe.pd incident we now accept also
                patches proposing canvas animations and other
               weirdo graphical issues :)

- size       : patch(es) + extra material must NOT exceed
                128kB UNCOMPRESSED !!! (Bytes not bits....)

- externals  : ONLY the ones from CVS

- application: anyone can apply, individual and teams AND
                several times !!!

- net        : the use of internet is tolerated as long as
                you don't use [shell] to download 300MB of
                porn files. (mmm? well let's say that one
                could use [shell]+some perl to grab stuff
                from google, but on the other hand it would
                be forbidden to use [shell]+wget to grab from
                your www/ftp all the material you needed for
                your patch that woud not fit in 128kB).

- CPU/GPU    : no real limitations, just consider that if
                your patch takes 100% of the CPU of your
                brand new box you just bought to play DoomIII
                then you should be aware that some people
                could have trouble to run your patch.

- OS         : use your own.

- theme/style: no theme or style, everything is most welcome
                from oldskool flexiscolls and soundchip
                trackers to pure noise pf-ish abstractions.

- deadline   : you can start to send your patch(es) the 1st
                of september until the 25th of september to
                xxxxxxxx@xxxxxx.xxx, then all the patches will
                be published on the PD Trigger Gang Bang
                section of http://goto10.org the 27th.

- format     : you MUST provide the following informations/
                materials with your patch:
                - name of the pure piece
                - name of the pure author(s)
                - description (a few lines)
                - detailled version of pd and all the
                 externals used.
                - Operating System and Hardware used for
                creating the patch
                - Operating System(s) and Hardware used to
                test the patch (optionnal)
                - mail/website
                - your favourite colour
                - a screenshot of the visual (jpg mid
                quality 384*288, crop, rescale we don't
                 mind)
                
------------------------------------------------------------
                                                      SUPPORT
                                        > pizzas not provided
------------------------------------------------------------

any questions should be adressed to
xxxxxxxx@xxxxxx.xxx

feel free to ask in the pd-list to create a team of pd
buddies.

don't forget to download the trigger gang bang Gemdemo flyer
on the goto10 website (http://goto10.org) or here

http://goto10.org/pdtgb01_gemflyer_0.1.zip
(requires pure-data 0.37+ (yes absolutely) and Gem 0.90+,
flyer developped on linux and tested on windows, macos users
are welcome to give feedback).

+++!!!



-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 122:
"Not building a wall but making a brick"

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From ???@??? Mon Sep  6 23:22:23 2004
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From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] FW: First International Pure-Data - Convention
 Graz/Austria 2004
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.....more PD spam ;-)

best,
d.

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

First International Pure-Data - Convention Graz/Austria 2004

For the first time in the successful history of the multimedia 
programming language Pure-Data, a group of organisations and individuals 
are organizing a convention to allow PD developers, users and artists to 
meet and work for one week.

The convention's activities include lectures, workshops, installations 
and performances, and allow the exchange of knowledge and discussion of 
current issues, completed with a huge artistic program.

The lectures are being held by a total of 22 PD experts (amongst others):
Frank Barknecht, Yves Degoyon, Guenther Geiger, Thomas Grill, Miller 
Puckette, Tom Schouten, IOhannes M. Zmölnig.

Over 20 concerts and art installations are being held during the week.
A series of theoretical discussions about media related topics covers 
the influence on artistic issues.

We would like to invite you to join the convention, which is taking 
place from:


September 27th until October 3rd 2004, in GRAZ/Austria.

Please note that admission is completely free!

Detailed schedule and further info:
http://convention.puredata.info/


-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 145:
"Slow preparation, fast execution"

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Subject: Re: [microsound] ot any chicago happenings?
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when you going to chicago ben 

--- Benjamin Thorp <xxxxxxxxxxxxxx@xxxxx.xxx> wrote:

> in chicago for a couple of days and wondering if
> there
> was anything of interest happening?
> be well,
> benjamin
> 
> 
>                 
> __________________________________
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> New and Improved Yahoo! Mail - Send 10MB messages!
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From ???@??? Tue Sep  7 06:53:23 2004
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having too much work and trouble connecting to the hotline-server, I 
uninstalled it.

how about opening a new thread on the wiki-server? 
...."linking" to available *.mp3s. 
what do you think? 

j ,.

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From ???@??? Tue Sep  7 09:13:26 2004
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Date: Tue, 07 Sep 2004 11:09:40 +0200
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Subject: Re: [microsound] FW: PURE DATA TRIGGER GANG BANG 01 > call for patches
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haha :)

hello guys,

well it's NOT misquoted, the song is actually produced by Sugar Hill
Records, performed by the Sugarhill Gang (which has been created from
scratch to make this label hit) and the mc singing it, IS wonder mike 
(Michael Wright) (the 2 others sugarhill gang members are Master G 
and Big Bank Hank).



:)





On Tue, Sep 07, 2004 at 11:54:18AM +0200, derek holzer wrote :
> Hi Charles,
> 
> thanks for the tip, home-slice! I'll pass it on to the author of said 
> misquotation, the Free Software video visionary and super-plagiarist 
> himself, Aymeric Mansoux. I'm sure if the Sugar Hill crew wanna throw 
> down, bad-boy Aymeric will take em on with two laptops and microphone  ;-)
> 
> "yo! microsound raps!"
> d.
> 
> vze26m98 wrote:
> >On 9/7/04, derek holzer said something like:
> 
> >>Wonder Mike,
> >>IRCAM Musical assistant, Free Software visionary and poet.
> >
> >Derek-
> >
> >I'm sure that Wonder Mike is a lovely guy, but you might give a tip of
> >the hat to the guys that wrote and performed your quotation: the
> >Sugarhill Gang.
> >
> >Don't everyone know "Rapper's Delight?"  Pretty much defined NYC in the
> >Fall  of '79, put Rap in the top-40 and sold many millions of copies.
> 
> 
> -- 
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 107:
> "Look at the order in which you do things"
> 

From ???@??? Tue Sep  7 08:48:52 2004
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Hi Charles,

thanks for the tip, home-slice! I'll pass it on to the author of said 
misquotation, the Free Software video visionary and super-plagiarist 
himself, Aymeric Mansoux. I'm sure if the Sugar Hill crew wanna throw 
down, bad-boy Aymeric will take em on with two laptops and microphone  ;-)

"yo! microsound raps!"
d.

vze26m98 wrote:
> On 9/7/04, derek holzer said something like:

>>Wonder Mike,
>>IRCAM Musical assistant, Free Software visionary and poet.
> 
> Derek-
> 
> I'm sure that Wonder Mike is a lovely guy, but you might give a tip of
> the hat to the guys that wrote and performed your quotation: the
> Sugarhill Gang.
> 
> Don't everyone know "Rapper's Delight?"  Pretty much defined NYC in the
> Fall  of '79, put Rap in the top-40 and sold many millions of copies.


-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 107:
"Look at the order in which you do things"

From ???@??? Tue Sep  7 08:48:55 2004
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Hi Charles,

thanks for the tip, home-slice! I'll pass it on to the author of said 
misquotation, the Free Software video visionary and super-plagiarist 
himself, Aymeric Mansoux. I'm sure if the Sugar Hill crew wanna throw 
down, bad-boy Aymeric will take em on with two laptops and microphone  ;-)

"yo! microsound raps!"
d.

vze26m98 wrote:
> On 9/7/04, derek holzer said something like:

>>Wonder Mike,
>>IRCAM Musical assistant, Free Software visionary and poet.
> 
> Derek-
> 
> I'm sure that Wonder Mike is a lovely guy, but you might give a tip of
> the hat to the guys that wrote and performed your quotation: the
> Sugarhill Gang.
> 
> Don't everyone know "Rapper's Delight?"  Pretty much defined NYC in the
> Fall  of '79, put Rap in the top-40 and sold many millions of copies.


-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 107:
"Look at the order in which you do things"

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From ???@??? Tue Sep  7 13:10:45 2004
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From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] Contents Onda Sonora 08-09-2004
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 FILETIME=[E6ABBD60:01C494DB]

www.ondasonoraradio.com
Escucha/Live a cualquier hora en la ventana Escuchar/Listen, clickeando Pc o 
Mac
Radio Círculo De Bellas Artes. Miércoles. 15:00-16:00. 100.4 fm 
www.circulobellasartes.com

Contenidos Onda Sonora (Radio Sesiones Experimentales) 08-09-2004

01. AUFGEHOBEN
Track: Solar Ipse
Album: Anno Faube
Label: Riot Season

Abrimos el programa de esta semana con un combo británico de improvisación 
que nunca ensaya, sólo se reúnen para grabar y editar los resultados de sus 
encuentros. Los miembros de Aufgehoben, así se hacen llamar, prefieren 
permanecer en el anonimato, aunque sabemos que, al menos, la banda consta de 
un guitarrista y dos baterías. Anno Faube es su tercer trabajo

This week’s session starts with an English improvisation outfit that never 
rehearse, they meet only to record and edit the result of those meetings. 
Aufgehoben members prefer to remain anonymous, though we know there are at 
least one guitarrist and two drummers. Anno Faube is their third work

02. ULTRA MILKMAIDS
Track: 3
Album: Drone + Unease
Label: Zeromoon

Interesante colaboración repleta de contrastes, un disco que se ha 
construido a caballo entre París y Maryland, lugares de procedencia de dos 
respectivos dúos, los franceses Ultra Milkmaids y los norteamericanos V. Los 
primeros utilizan la última tecnología digital para procesar muestras de 
guitarra que transforman en densos paisajes electrónicos, mientras V. vienen 
tradicionalmente empleando todo tipo de instrumentación acústica –de objetos 
encontrados a instrumentos rotos- con los que crean ruidos de percusión. La 
colaboración entre estos dos grupos ve la luz gracias a la compañía 
Zeromoon, sello de Jeff Surak, uno de los componentes de V.

Interesting collaboration full of contrasts, a record that was built between 
Paris (France) and Maryland (US), places of origin for two respective duos: 
The Ultra Milkmaids and V. The first ones use the last digital technologies 
to process guitar samples transformed into dense electronic crossings, while 
V. traditionally use all kind of acoustic instrumentation –from found 
objects to broken instruments- to create percussion noise. Released on 
Zeromoon, a label that is run by Jeff Surak, one of V.’s components

03. THE MUSIQUE CONCRETE ENSEMBLE REMIXED BY CORNUCOPIA
Track: Towards A Dead Light
Album: Dissolution Tapes
Label: Zeromoon

Otra de las novedades de Zeromoon es el nuevo proyecto de Thomas Ekelund, 
uno de los nombres que se encuentran detrás de Normal Music. The Music 
Concrete Ensemble se estrena con un disco de remezclas, The Dissolution 
Tapes, en el que colaboran artistas de la talla de Francisco López, Andrey 
Kiritchenko, Maja Ratkje, Violet –o lo que es lo mismo, Jeff Surak-, los 
propios Ultra Milkmaids o los puertoriqueños Cornucopia

Another new feature on Zeromoon, Thomas Ekelund’s new project: one of the 
names behind Normal Music. The Music Concrete Ensemble bets for a remix 
album, The Dissolution Tapes, with the collaboration of artists such as 
Francisco Lopez, Andrey Kiritchenko, Maja Ratkje, Violet –Jeff Surak’s solo 
project-, The Ultra Milkmaids or Puerto Rico duo Cornucopia

04. CORNUCOPIA Interprets Mystery Hearsay
Track: Mezcla Cuerpo Misterios y Rumores
Album: Mezcla Cuerpo Misterios y Rumores
Label: Zeromoon

Otro nuevo trabajo a cargo del dúo de Puerto Rico Cornucopia; en este caso 
se trata de una especie de collage psicodélico basado en los tres álbumes 
publicados por Mistery Hearsay en Zeromoon

Another new work by Puerto Rico duo Cornucopia, in this case a kind of 
psychedelic collage based in the three albums released by Mistery Hearsay on 
Zeromoon

05. ANDREY KIRITCHENKO
Track: Suntouch
Album: Bees & Honey
Label: Zeromoon

También desde el sello de Maryland Zeromoon, el nuevo trabajo de Andrey 
Kiritchenko, músico electrónico ukraniano que también ha trabajado en radio 
y televisión, y que retorna con un disco titulado Bees & Honey en el que 
incluye cinco nuevos cortes propios; este es uno de ellos

Also from Zeromoon, the new work of Andrey Kiritchenko, Ukranian electronic 
musician that has worked as well in radio and television, and returns with 
this album, Bees & Honey, with 5 new tracks; this is one of them

06. ANDREY KIRITCHENKO REMIXED BY SCANNER
Track: Scannermix
Album: Bess & Honey
Label: Zeromoon

Además de 5 nuevos cortes de Andrey Kiritchenko, su reciente Bees & Honey 
incluye también 10 remezclas, a cargo de artistas como Kim Cascone, Kotra, 
Scanner y Cray, entre otros. Escucharemos la relectura del británico Robin 
Rimbaud, Scanner

Apart from the 5 new tracks by Andrey Kiritchenko, his recent Bees & Honey 
includes as well 10 intriguing remixes by Kim Cascone, Kotra, Cray or 
Scanner, between some more names

07.  KOTRA
Track: Plus
Album: Dissilient
Label: Nexsound

Hace unos instantes te hablábamos de Kotra como uno de los invitados en el 
disco de Kiritchenko, aunque esto es uno de los cortes de su nuevo álbum, 
Dissilient, editado por el netlabel Nexsound desde Ukrania, país de 
procedencia del propio Dmytro Fedorenko, Kotra

Kotra was one of the guests in Kiritchenko’s record, though this is one of 
the tracks in his own new album, Dissilient, released on Nexsound netlabel 
from Ukraine, country of origin for Dmitro Fedorenko, Kotra

08.  KOTRA
Track: Tech (The Third Bridge)
Album: Acute ep
Label: Nexsound

El Acute EP se publica como complemento al álbum Dissilient del ukraniano 
Kotra que acaba de sonar. Menos estructurado y complejo que el anterior, 
también lo distribuye el sello Nexsound

The music in the Acute EP is released as a complement for the album 
Dissilient by Kotra. Less structured and complex than the previous, is also 
distributed by Nexsound

09. VIOLET
Track: 1
Album: Electrolux
Label: Nexsound

Otra novedad de Nexsound: Violet, el proyecto en solitario de Jeff Surak, a 
quien hemos hecho referencia como componente de V. y Normal Music y que 
dirige el sello Zeromoon. Violet es el pseudónimo bajo el que Surak 
experimenta con instrumentos electroacústicos y manipulaciones de cinta, 
vinilo y CD

Another new feature on Nexsound: Violet, the solo project of Jeff Surak, 
referred as a member of V. and Normal Music and for running the Zeromoon 
label. Violet is the moniker under which Surak investigates with 
electroacoustic instruments and tape, vynil and cd manipulations

10. FERRAN FAGES- RUTH BARBERAN- ALFREDO COSTA MONTEIRO
Track: Weiur
Album: Atolón
Label: Rossbin Production

Colaboración a caballo entre Oporto y Barcelona, publicada bajo el nombre 
Atolón por tres músicos con similares intereses que vienen trabajando 
juntos, por parejas, desde 1998, a través de formaciones como Cremaster, I 
Treni Inerti y ErrorFocus: El portugués Alfredo Costa Monteiro y los 
catalanes Ferrán Fagés y Ruth Barberán, el primero al acordeón y los 
segundos a los platos y la trompeta, respectivamente. Un disco que edita 
Rossbin Productions, que hace sólo unas semanas lanzaba lo nuevo de Alvin 
Curran

Collaboration between Porto and Barcelona, released under the name Atolon by 
three musicians with similar interests that have been working together, in 
pairs, since 1998, through formations as Cremaster, I Treni Inerti and 
ErrorFocus: the Portuguese Alfredo Costa Monteiro and the Catalans Ferran 
Fages and Ruth Barberan, the first on the accordion and the second at the 
turntable and trumpet, respectively. A record released by Rossbin 
productions, who just a few weeks ago released Alvin Curran’s new work

11. WIBUTEE
Track: Playmachine
Album: Playmachine
Label: Jazzland

Lo nuevo de un proyecto proveniente de Trondheim, en Noruega, un grupo que 
fusiona jazz y electrónica desde un punto de vista a cada trabajo más 
personal. Se trata de Wibutee, formación liderada por el joven saxofonista 
Hakon Kornstad, junto a Per Zanussi en el bajo, el batería Welte Holte y el 
músico electrónico Rune Brondbo, también conocido por su proyecto 
Sternklang. Playmachine es el tercer disco de Wibutee, editado por el sello 
Jazzland, que hacia tiempo que no editaba algo especialmente interesante

This is the new album by a project coming from Trondheim, in Norway. A band 
that fuse jazz and electronica from a each time more personal point of view. 
They are called Wibutee, a formation leaded by young saxophinist Hakon 
Kornstad, together with Per Zanussi on bass, the drummer Welte Holte and the 
electronic musician Rune Brondbo, also known for his Sternklang project. 
Playmachine is the third album of Wibutee

12. BEEF TERMINAL
Track: Quadra
Album: The Isolationist
Label: Noise Factory

Cerramos la sesión de esta semana en Onda Sonora desde Canadá, con uno de 
los cortes incluídos en el nuevo sampler recopilatorio del sello Noise 
Factory; esta es una de las mejores bandas de su catálogo, Beef Terminal

We find the end of this week’s Onda Sonora session in Canada, with one of 
the tracks included in the new sampler by the Noise Factory label; this is 
one of the best bands in their catalogue, Beef Terminal


Nota: Este correo no ha sido solicitado, pero hemos considerado que te 
podría interesar. Si no quieres volver a recibir mensajes de nuestro 
programa, devuélvelo poniendo "Bórrame" en el asunto. Inmediatamente te 
borraremos del mailing. Gracias.

_________________________________________________________________
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From ???@??? Tue Sep  7 13:20:47 2004
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On 9/7/04, Aymeric said something like:

>performed by the Sugarhill Gang (which has been created from
>scratch to make this label hit)

Well, I'm gonna keep pushing you and ask you what you mean by "from
scratch?"  The Sugarhill Gang is still around the Bronx and they perform
in downtown clubs from time to time, whenever white people get nostalgic
about their teenage dance parties.

They played at B. B. King's on Times Square recently, I believe, but
have been doing this for at least 10 years.  Their set consists of
"Rapper's Delight," "8th Wonder," a short break and then, um, "Rapper's
Delight" again.

Don't know what they do to pay the bills in between, but they're living,
breathing members of the New York community and didn't need a forensic
team to track them down for a record date with a software nerd.

But props to Michael Wright, who did his bit to shoot some royalty money
their way.  Wonder if he got $25 for the session?

Best,

Charles


<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Tue Sep  7 15:08:20 2004
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hi

( 04.09.07 08:56 +0200 ) xxxx@xxxxxxxxx.xx:
> how about opening a new thread on the wiki-server? 
> ..."linking" to available *.mp3s. 
> what do you think? 

excellent- this is what the wiki is for. please try to start it and ask
if you have problems.


-- 
\js         -_ >]:"|-=   !<-   !.}!&       =|http://or8.net/~johns 

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From: Subsource Netlabel <xxxxxx@xxxxxxxxx.xx>
Subject: [microsound] subsource nu:s: SUBMIX029 by [IN]ANACE
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New submix by [in]anace

submix029: Radio GAGA: Late-Night Edition

Für Stimmen im Suburban Network

An unusual free music and netaudio instant
electronic/ambient/idm/hip-hop/speech DJset collected and mixed by the
subsource.de head.

There is so much music possible. There are techniques to make every
inconceivably tone listenable. When you are deep into electronic music
you get an enormous input of music that is created in a strange and
exotic way. Through the years i taught myself to understand avant garde
and pop music (!) as well and it was not easy sometimes. After all the
human voice is the most beautiful and changeable sound machine i known
and it is always a pleasure to listen to voices of people who have a
nice sounding voice or at least something interesting to say. So there
was the intention to collect another DJset (the first was Radio GAGA,
submix024) with a focus on human voices. Radio GAGA was funny, this one
is more musing for the late hours of a day. This DJset contains words to
think about, maybe there are phrases with a deeper meaning. But it's not
a must to understand the words, the meaning is equal. This DJset is
about sound.

» look and feel here
_ http://www.subsource.de/submix/029/

» read setlist here
_
http://www.subsource.de/submix/029/submix029_inanace-radio_gaga_late-nig
ht_edition.txt

» hifi mp3 stream here (109 min)
_ http://www.archive.org/download/submix029/submix029_vbr.m3u

» direct download mp3 here (135 mb)
_ http://snipurl.com/8v9h


Thank you!
Subsource Netlabel

-- 
__ SUBSOURCE _________ __ _ __  ______ __________
            netlabel for electronic music culture 
http://www.subsource.de



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


tinah cdr zine #3 release party:


10.sep.2004: galerie lichtschliff /kopenhagener str.15/ berlin / germany

jetzmann [digital kranky]
live/dj/video

renoise guitar [hamburg]
live

elektronengehirn [block4, stasisfield]
live genetic engineering/ interactive installation

_netcon [317am]
live

cint [317am]
dj set

http://www.lichtschliff.de
http://www.thisisnotahomepage.com

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











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

next events:
Elektronengehirn concert + installation
10.9.2004 Galerie Lichtschliff Berlin, Germany
Notstandskomitee Live
16.9.2004 Kulturbunker Muelheim e.v., Cologne, Germany
17.9.2004 Cuba, Muenster, Germany
pure-data workshop
18.10-22.10 vivid, Birmingham, UK

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Subject: [microsound] [playlist] framework - 20.08.04
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framework broadcasts live alternate fridays on resonance104.4fm  in london (uk) or worldwide on http://www.resonancefm.com between 8:30 and 9:30pm bst, and repeated the following wednesday between 11:00am and 12:00 noon bst 

next live broadcast: 17.09.04
~ time zone converter: http://www.worldtimeserver.com/?h=8&mn=30&ap=pm&mo=9&d=17&y=2004&f=GB


RESONANCE FM'S PROGRAMMING IS PRODUCED ENTIRELY BY VOLUNTEERS; PLEASE HELP US TO CONTINUE BY MAKING A DONATION.  CHECK OUT OUR WEBSITE TO FIND OUT HOW YOU CAN HELP KEEP RESONANCE ON THE AIR: HTTP://WWW.RESONANCEFM.COM.  THANK YOU!

 

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


framework - phonography/field recording; contextual and decontextualized sound activity
presented by patrick mcginley

this is our first playlist in quite awhile. so let me explain:  our last show was on the 20th of august.  it's normally scheduled repeat would have been the following wednesday, the 25th, but did not air due to special programming that week.  what would have been our next normally scheduled live show, the 3rd of september, also did not air due to special programming.  tomorrow, the 8th, is the normal slot for the repeat of the show that did not air, the 3rd, but as there is no show to repeat from the 3rd and as the show from the 20th never got repeated, tomorrow we get a chance to air the repeat from our live show on the 20th, for which you will find the playlist below.

whew.  did that make any sense?  it was quite a lot of fun to write...

this edition featured several longer pieces and consisted almost entirely of unreleased work: new composition from toy.bizarre, mark schreiber, and steve peters, among others.  our next live show, on the 17th, will be our first in almost a month, so expect some exciting material.  i can also now announce that starting in october, and running until at least the new year, framework will be extending its boundaries to include every friday night bar the first friday of each month, which will remain peter cusack's excellent vermillion sounds show.  will we will be using this extra time a bit differently, aiming to air more live material, or single artist commissions and focuses.  more details forthcoming...

again, we are always looking for material for the show, whether raw field recordings, field recording based composition or introduction submissions.  send material, released or not, on any format, to the address below.   we are also hoping to have live performances as often as possible, so if you are in or passing through london please get in touch! 

 
framework
31 nevill road
london n16 8sl
uk

xxxxxxxxx@xxxxxx.xxx



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


20.08.04

this edition will be rebroadcast this wednesday (tomorrow!), 08.09.04, at 11:00am bst 
~ time zone converter: http://www.worldtimeserver.com/?h=11&mn=00&ap=am&mo=8&d=11&y=2004&f=GB

(artist  /  title  /  album  /  label)

framework intro  /  keith de mendonca
a nicely composed raw field recording taken on brighton beach
http://www.dismbody.demon.co.uk/home.html

toy bizarre  /  kdi dctb 122  /  -  /  -
mixed from 10 elements all recorded within 750m of the centre of the village la pommerie
http://www.ingeos.org

dallas simpson  /  piping in the reeds with windscape  /  for alderney  /  and/OAR
natural improvisations with a found drainpipe on a windy day in the reeds
xxxxxxxxx@xxxxxxxxx.xx.xx.xx, http://www.and-oar.org

mark schreiber  /  moonlight over magneto  /  -  /  -
composed from sounds found on an abandoned reel to reel tape by this london-based new composer
xxxxxxxxxxxxx@xxx.xxx

disembodied arts  /  electromagnetics and hydrophones  /  -  /  -
a long heavily treated composition from, as the title suggests, electromagnetic and water recordings
http://www.dismbody.demon.co.uk/home.html

 mark schreiber  /  repetitive strain  /  -  /  - 
another short piece, this one more raw and seemingly based on ambient night sounds
xxxxxxxxxxxxx@xxx.xxx

steve peters  /  delicate abrasions  /  -  /  -
soundtrack for an installation in an old warehouse in santa fe, new mexico, using sounds only from the space itself
xxxxxx@xxxxxxx.xxx

archive  /  timeshare  /  immersion : water works  /  insides music
sounds of water under a dock on lake roosevelt, outing, minnesota
http://www.juniorbirdman.com/archive, http://www.insidesmusic.com


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



framework intro submissions:

1)    take yourself and an audio recording device to a location of your choice
2)    record for AT LEAST 1 minute before you -
3)    read the following text:

welcome to framework.

framework is a show consecrated to field recording, and it's use in composition.
field recording, phonography, the art of sound-hunting; open your ears and listen!

4)    continue your recording for AT LEAST 2 minutes after you've finish speaking
5)    send the recording on any format to the address above, or as an mp3 via email

thanks!



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



the framework 2003 cd has been reprinted and is now once again available directly from the resonancefm online shop, along with a selection of other benefit cds, t-shirts, and general paraphernalia.  drop in here to have a look:

http://www.resonancefm.com/shop.php


framework 2003
resonancefm benefit cd featuring highlights from the year's broadcasting

rob grant & melanie clifford  /  framework intro
thomas dimuzio  /  unearth & lift and spear  /  sonicism  /  rrrecords
chris watson  /  river mara at night   /  stepping into the dark  /  touch
johannes helden / - / sketchbook / trente oiseaux
toy bizarre  /  -  /  kdi dctb 116  /  absurd
murmer  /  liquid solid  /  definition  /  absurd
jgrzinich & seth nehil  /  the distant edge  /  confluence  /  intransitive
seth nehil & jgrzinich  /  the mirrored corner  /  stria  /  erewhon
annette lissauer  /  framework intro
toby paddock  /  air, surface and magnetic vibrations  /  -  /  -
steve roden  /  -  /  resonant cities  /  trente oiseaux
francisco lopez  /  untitled #101  /  untitled (2000)  /  ignis projekt
mnortham  /  ancient sewer pipe, valletta, malta  /  phonography.org 5  /  phonography.org
the quiet american  /  donkey trains leaving marpha, nepal  /  phonography.org 4  /  phonography.org
steve barsotti  /  trainyard presence  /  phonography.org 5  /  phonography.org
k. m. krebs  /  jericho sailing center (nautical gamelan)  /  phonography.org 4  /  phonography.org
david daniell  /  highway 371, forty miles south of farmington, january 19, 1998, 2:25 pm  /  sem  /  antiopic
joyce hinterding  /  -  /  spectral  /  antiopic/sigma editions
david daniell  /  dixon lake road, july 31, 1999, 5:45 am  /  sem  /  antiopic
tacet ncv  /  live on framework
jean-luc guionnet & bertrand denzler  /  live on framework
dallas simpson  /  framework intro
--Boundary_(ID_KT83KZdieSrjLTcpkAXYOA)--

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DB FESTIVAL PRESS RELEASE 9-1-04


Decibel Festival is a four-day, multiple venue community arts and music 
festival exposing the Northwest to the international, national and 
regional electronic music scene. It is our goal to educate as well as 
entertain through workshops, seminars, open discussion, comfortable 
venues, excellent sound, exciting performances, interesting visuals and 
a diverse cross-section of quality electronic music.

The festival will focus on no predominant electronic music genre, but 
instead focus on the similarities that unite all electronic music 
(synthesis, technology, dance, urban post-industrial culture, digital 
art).

Considering the increasing number of talented producers, label owners, 
DJs and performers gaining popularity through out the Northwest, 
Decibel would like to give these NW artists the opportunity to perform 
along side national and international electronic music talent.

Through seminars, clinics, panel discussions and the 1st Annual 
Electronic Music Film Festival Decibel hopes to educate and build 
awareness in regards to electronic music’s history, diversity, 
longevity and sophistication (see FILM FESTIVAL and CLINIC information 
below).

Decibel evening performances will be spread across 5 different venues 
(see VENUE info below) over the 4-day span of the festival (13 live 
showcases and the Barca DJ lounge). Performances will range from laptop 
performance/competition, to live/electronic hybrid bands, to 
internationally renowned DJs, to electro acoustic composition. Each 
night and each venue will have a pronounced theme, giving each showcase 
a unique appeal. Considering all of these venues are within 4-block 
radius, we encourage attendants to wander between venues and embrace 
the festival as a collective experience. Considering the amount of 
talent and musical diversity participating at the Decibel Festival it 
would be a shame not to (see line up below). With the purchase of a 
Decibel Pass you gain complete access to all of these events, including 
the clinics, panels and daytime performances (13 live showcases, 9 
clinics, DJ lounge, 2 panel discussions). In addition individual 
tickets can be purchase the day of the show at the venue on a first 
come first serve basis (see TICKET info below on pricing). Check the 
www.dbfestival.com site for complete schedule and showcase information 
(coming soon).





>>> TICKETS ($50 Db pass pricing has been extended to Sept 15th):
Db passes are on sale now (www.dbfestival.com). Passes will guarantee 
you admission to all Decibel  Shows and related activities (day and 
evening performances, National Laptop Championship, clinics, panel 
discussions). The last of the discounted pass will be available through 
Sept 1st.

Db Pass pricing is as follows:
August 15th - Sept 15th   = $50
Sept 16th - Sept 23rd      = $65

*Individual tickets per show will be available at the door. Please keep 
in mind pass holders have priority and you will not be guaranteed 
admittance without a pass. Tickets will range from $10 - $20 per show 
and $5 per clinics/panel discussions (12 + shows and 3 clinics). 
Individual ticket price info will be made available on the Db website 
and in the Db booklet in the near future. Check the website 
periodically for more info.


>>> UPDATE DECIBEL LINE UP
in alphabetical order
Absolute Madman (Seattle - Fourthcity)
(A) ppendix Shuffle a.k.a. 8 Frozen Modules (L.A. - Orac, Proptronix 
Records)
.greg. (Decibel)
Beehive (Seattle)
Brandy Westmore (Seattle)
Brian Lyons (Seattle - Flammable, Superfluid)
Bruno Pronsato (Seattle - Orac Records)
Caro (Seattle - Orac Records)
Circle Square (Vancouver, B.C. - Output Records)
Clever (Offshore, Breakbeat Science)
CNS Engineering (Portland - Bella, Classic Records UK)
Codebase (Seattle - Force Inc Records)
Deceptikon (Portland - Merck Records)
Derek Fisher (Portland - Shameless)
DJ Clandestine (Detroit - Underground Resistance)
DJ Eddie (Seattle - Decibel)
DJ Minx (Detroit - Girl Fun (k), M-nus Records)
DJN (Seattle - Fourthcity)
DJ Recess (Seattle - Shameless)
DJ Slip (Portland - Kanzleramt, Missle, Music Man Records)
Dub Exorcist (Portland)
Edit (L.A. - Planet Mu Records)
Electrofunk feat. Mr. De’ (Detroit - Electrofunk Records)
Foscil a.k.a. Scape (Seattle - Fourthcity)
Fourthcity Laptop Battle Championship (featuring Laptop battle 
finalists)
Hakea (Seattle)
Jeff Samuel (Seattle - Trapez, Ghostly/Spectral, Pokerflat Records)
Jerry Abstract (Seattle - Decibel, Fixelplix, Shitkatapult Records)
Jeromy Nail (Seattle - Uniting Souls)
John Tejada (L.A. - Plug Research, Playhouse, Palette Records)
Johnny Fever (Vancouver, B.C.  - Volume)
Kill Memory Crash (Chicago - Ghostly International)
KJ Sawka (live drum and bass band - Seattle)
Kris Moon (Seattle - Decibel, Fourthcity)
Kristina Childs (Seattle - Plasmodium Radio)
La Kendal (Seattle - Girl Fun (k))
Loscil (Vancouver, B.C. - Kranky Records)
Lusine (Seattle - Hymen, Ghostly International)
Marcus Nikolai (Frankfurt, Germany - Perlon, Classic Records)
Mech Warrior (Vancouver, B.C. - Barcode)
Michael Lakeman (Seattle - Decibel Radio)
Mike Huckaby (Detroit - Deep Transportation, Harmonie Park)
Misha (Seattle)
Mori (Portland)
Mr. Projectile (Santa Cruz - Toytronic, Merck Records)
Murat (U.S.A.)
ndCv (Seattle - Bass Kamp)
Nora Posch (Seattle - Dance Ritual)
Nordic Soul (Seattle - Decibel, Dreaming in Stereo)
Obelus (Seattle - Bass Kamp)
Paul Edwards (Seattle - Decibel, PG Series)
Plan B (Seattle - Luckyhorse Industries)
Plastiq Phantom (Seattle - Sweet Mother, Imputor?)
PJ Pooterhoots (Detroit - Definitive, Proptronix Records)
Primal (Portland - Mafia Records)
Psidream (Vancouver, B.C. - Barcode, Breakbeat Science)
Portable (South Africa - Sud, Background Records)
P.S. I Love You (Olympia)
Primal (Portland - Mafia Records)
Rama (Seattle)
Richard Chartier (Washington, D.C. - 12k/LINE Records)
Richard Devine (Florida - Schematic, Warp Records)
Robin Judge (Vancouver, B.C. - Onitor, Mille Plateaux Records)
Saba (Seattle - Blatant Records)
Safety Scissors (S.F. - Force Inc, Proptronix Records)
SCAN 7 (Detroit - UR, Tresor, Cratesaver, Elypsia Records)
Scientific American (Seattle - Massmvmnt Records)
Skiks (Bellingham, WA - WWU)
S.O.G. (Portland - Renegade Rhythms, obS/EAR)
Solenoid (Portland - OMCO, Orac Records)
Solvent (Toronto - Morr Music, Ghostly International)
Strategy (Portland - Kranky, Orac Records)
Sutekh (S.F. - Force Inc, Context Records)
Synth Club (Seattle - Reggie Watts, Nordic Soul, Daniel Spils, Steve 
Scalfati)
Tek Brothers (Detroit - Tunnel 7, Local 3000)
Terso (Seattle)
The Perfect Cyn (Portland - Shameless)
Tipper - DOWNTEMPO SET IN 5.1 (U.K. - Fuel, Mutopia Records)
Tomas Jirku (Vancouver, B.C. - Force Inc Records)
Twonz (Detroit - obS/EAR, Hi Jacked Records)
Zapan (Seattle - Fourthcity)
Zion 12 (Zion’s Gate, Uniting Souls)

>>> VENUES
The Capital Hill Arts Center (CHAC)                    1621 12th Ave, 
Capitol Hill
CHAC (upstairs) All ages dance venue (night). Clinics and panel 
discussion (day)
CHAC Lower Level (downstairs) – 21+ Bar and experimental venue

Chop Suey                                                      1325 E. 
Madison St., Capitol Hill
Live Electronic venue featuring electronic bands and laptop artist from 
around the globe. Thursday through Sunday night (early show Sunday 4 – 
9pm)

Barca                                                                   
      1510 11th Ave, Capitol Hill
Barca will be the official Db Lounge featuring a broad selection of DJs 
spinning everything from downtempo to drum and bass. Barca will be a 
mingling ground for producers and Decibel attendees featuring wireless 
internet and informational booths. 21+, FREE.

Oseao                                                               
1402 E. Pike Street, Capitol Hill
All ages after hours venue brought to you by Decibel and the 
“Shameless” crew. Acts TBA.

North West Film Forum                                           1515 
12th Ave, Capitol Hill
The NWFF will be hosting the 1st Annual Electronic Music Film Festival 
entitled, “Early Circuits: Pioneers of Electronic Music”. See Film 
Festival info on this site for more details.


>>> Northwest Film Forum and Decibel Northwest Electronic Music Festival 
>>> present
EARLY CIRCUITS: PIONEERS OF ELECTRONIC MUSIC
September 24-30
Sponsored by Easy Street Records and KEXP

Decibel and the Northwest Film Forum present this special film series 
celebrating pioneering inventors and artists who have shaped the world 
of electronic music.

SEPT 24-30
Fri-Sun at 6, 7:45, 9:30pm, Tues-Thurs at 7:45, 9:30pm
MOOG
Plastiq Phantom performs on Moog instruments before the Friday 7:45 
screening!
Bob Moog has been inventing electronic musical instruments for nearly 
half a century. His early synthesizers opened up vast possibilities for 
artists, and his contributions have greatly influenced the direction of 
music culture. This new documentary explores Moog's instruments and 
collaborations over the years, as well as his opinions on creativity, 
design, interactivity, and the spiritual world.

SEPT 24-30
Fri-Sun at 8:30pm, Tues-Thurs at 6pm
HAACK: THE KING OF TECHNO
Electronic pioneer, Bruce Haack, continually expanded music through his 
children’s records in the 60s ('Dance, Sing & Listen'), his darker and 
farther out 70s recordings ('The Electric Lucifer'), and his early-80s 
contribution to hip-hop ('Party Machine'). This documentary illuminates 
his musical career with interviews and rarely seen performance 
footage—–including an early 60s visit to Mister Rogers' Neighborhood!

SEPT 24-26
Fri-Sun at 5, 6:45pm
SONIC ACTS
Using interviews, performances, and archival footage, SONIC ACTS traces 
the development of electronic music and explores connections and 
conflicts between the music of early electronic pioneers and the dance 
music of new generation artists. The film features Karlheinz 
Stockhausen, Pierre Henry, John Cage and other pioneers, as well as 
contemporary artists including Squarepusher and DJ Spooky.

Northwest Film Forum
1515 12th Avenue (between Pike & Pine)
267-5380  www.nwfilmforum.org
Tickets: $7.50 (Db pass will NOT get you into the film festival)

>>> FOURTHCITY LAPTOP BATTLE CHAMPIONSHIP
Friday Sept 24th @ Chop Suey as part of the 1st Annual Decibel Festival

Fourthcity stumbled upon the idea of the laptop battle at its modest 
weekly event at Seattle's Deep Down Lounge.  Immediately realizing its 
potential, a more detailed & better planned battle was scheduled for 
Chop Suey in September 2003.  Soon after, Fourthcity created 
laptopbattle.org and along with contributing sponsors Ableton, Native 
Instruments, the Stranger and em411.com, organized battles in Portland, 
Vancouver B.C., San Francisco and Los Angeles, and co-sponsored battles 
in Philadelphia and Puerto Rico.  For the Laptop Battle Championship at 
the Decibel Festival, Fourthcity will import the best laptop battlers 
on the west-coast (Dream Electric from Los Angeles, Twittering Machine 
from San Francisco, Deceptikon from Portland, Spark from Vancouver, & 
Tom Chi from Seattle) & stage a battle like no other before. The Laptop 
Battle is a phenomenon that is helping laptop musicians develop new 
styles of performance and therefore helping to increase the overall 
acceptance of laptops onstage at concerts.

The laptop battle is a competitive event for laptop musicians to match 
their skills against one another.  A panel of judges decides which 
contestant advances to the next round, single elimination style.  It's 
a fusion of sound design, composition and stage performance, and a 
chance for laptop musicians to prove their skills in battle and develop 
techniques and strategies.

Battlers:
Dream Electric (la)
Twittering Machine (sf)
Deceptikon (pdx)
Tom Chi (sea)
Spark (van)

Judges:
EdIT
Zapan
Steven Severin

Opening performances by:
the Fourthcity DJs
Absolute Madman
Kris Moon
DJN
Zapan
& EdIT


>>> DECIBEL CLINICS (sponsored by Native Instruments - schedules to come)
Decibel is proud to present electronic music educational clinics 
Saturday and Sunday, September 25th and 26th from 2-6pm at the CHAC.  
Don't miss this opportunity to see local and international producers 
share tips and tricks on their favorite software.  Richard Devine and 
Mike Huckaby are joining us to talk about all things Native 
Instruments, with special attention to Reaktor, the stand-alone modular 
synth monster program.  Randy Jones, the author of Jitter's 3D graphics 
framework, will be giving an introduction to Jitter, focusing on 
various ways of turning sound into images and vice versa.  Kris Moon 
will be sharing some of the tips and tricks that he used to win 2 
laptop battles using Ableton’s revolutionary new performance software, 
Live 4.

The discussions won't be limited to software only though!  Portland 
artist Solenoid is going to fill us in on unique rhythm structures, 
Rane will be showing off the new Serato Scratch Live, and we'll also 
have entry level dj and production techniques discussions courtesy of 
Dj Girls.  Clinics are all ages with a $5 admission fee per day (free 
entry for Db pass holders) and will start on the hour, every hour from 
2-6pm Saturday and Sunday at the CHAC (1621 12th Ave, Capitol Hill - 
Seattle).


>>> ACCOMIDATIONS (discounted group rate of 40% off normal room cost)
Close proximity to Festival (5-8 blocks from Decibel venues)

Silver Cloud Hotel
1100 Broadway
Seattle, WA 98122
Ph# 206 325-1400
http://www.scinns.com/broadway.htm

Sliver Cloud offers:
-Group rate for all Decibel pass holders (40% off regular rate if you 
mention you’re with the Decibel Festival).
-In-Room Microwave, Refrigerators, Hairdryer, Coffee Maker, Voice Mail, 
  Data Port Phones, High peed Internet Access, Iron with Ironing Board, 
Pay Movies & Nintendo
-Complimentary Guest Laundry Facilities & Free Local Calls
-Fitness Center, Indoor Swimming Pool  &  Indoor Jacuzzi
-Conference Rooms, Board Room, Gift Shop & Restaurant on site parking

>>> DB SPONSORS/PARTNERS
-Native Instruments (Clinics/supporting artists)
-EZ Street Records (a discount will be available to Db pass holders. 
More info to come)
-Rane (Clinic support)
-The Stranger (Media sponsor)
-PlayNetwork
-North West Film Forum (hosting the Film Festival)
-Tablet (Media Sponsor)
-Earcandy
-Fourthcity
-Chop Suey

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From ???@??? Tue Sep  7 21:27:53 2004
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Date: Tue, 07 Sep 2004 14:29:11 -0800
From: Nathan Snider <xxxxxx@xxxxxx.xxxxx.xxx>
Subject: Re: [microsound] FW: PURE DATA TRIGGER GANG BANG 01 > call for patches
To: xxxxxxxxxx@xxxxxxxxx.xxx
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> I'm sure that Wonder Mike is a lovely guy, but you might give a tip of
> the hat to the guys that wrote and performed your quotation: the
> Sugarhill Gang. 

Um, did I miss something?  If memory serves, Wonder Mike is one third of
the Sugarhill Gang (a fact that I believe is underscored by numerous
self-referential shout-outs within the song itself).  Perhaps Wonder
Mike is expanding his boundaries...  Or perhaps there's another Wonder
Mike at IRCAM who finds this all wonderfully, terribly amusing?

In any case, it seems clear that microsound really needs a major label
to step up and cash in on its street cred, bringing its raw,
irresistable charm to the masses in the form of a handy one-hit-wonder.
Following the Sugarhill Gang's example, we need a hastily-asembled trio
of laptopians who will extend the influence of our pocket protectorate
into the homes, cars, and high school gyms of the world.  Oh, if only
Fenn'O'Berg had been picked up by Columbia, our streetcorners would at
this very moment be awash with sine waves and bathed in an intricate,
granular shimmer.  One day, my friends, one day...

That is all.

-n



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From ???@??? Wed Sep  8 10:52:19 2004
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http://microsound.nexthop.net/bin/view.cgi/Main/WebHome

another page for micromusic...
please post the link directly to the file, maybe add some details

(had no problems with editing/ registering/preview. works perfect!)

up you go; 
j ,.

 

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From ???@??? Wed Sep  8 12:07:20 2004
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hi

( 04.09.08 12:55 +0200 ) xxxx@xxxxxxxxx.xx:
> http://microsound.nexthop.net/bin/view.cgi/Main/WebHome

nice idea- a page of links to music.

the wiki also has the capacity to have attachments, so if people don't
have web space, they could go on the wiki itself. unfortunately, this
functionality doesn't seem to be working right now. it's in my queue to
fix, but sometimes the queue moves quickly and sometimes it doesn't ...

-- 
\js     http://or8.net/~johns         "<[?')[<$  {            <^}">

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From ???@??? Wed Sep  8 16:57:41 2004
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Hi Charles/Derek,

FWIW, I think Wonder Mike _is_ one of the Sugarhill Gang, as in :

"I am Wonder Mike and I'd like to say hello,to the red the brown the black and
white, the purple and yellow"

I like the idea of him in IRCAM back in the day :)

d.


> >>Wonder Mike,
> >>IRCAM Musical assistant, Free Software visionary and poet.

______________________________
http://dennismcnulty.com

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From ???@??? Wed Sep  8 18:35:02 2004
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Subject: [microsound] [ot] Wonder Mike
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On 9/8/04, Dennis McNulty said something like:

>FWIW, I think Wonder Mike _is_ one of the Sugarhill Gang, as in :

That, I guess, is what Aymeric was trying to say in his post, which I
misread as we were laboring under the tyranny of English.

Still, those guys WERE rapping together in the Bronx, although not under
the name Sugarhill Gang prior to Sylvia Robinson's appearance on the
scene.  So for my money, saying that Robinson put them together from
scratch is a little like saying that Columbia Records was resonsible for
the Louis Armstrong Hot Five...

>I like the idea of him in IRCAM back in the day :)

Agreed.  But I'll get back to my original point, which addressed the
misidentification of a musical artist.  Throw your hands in the air,
anybody that likes being mis-eye-deed...

Best,

Charles


<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Wed Sep  8 18:56:23 2004
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Date: Wed, 08 Sep 2004 14:56:05 -0400
From: Derek Morton <xxxxx@xxxxxxxxxxx.xxx>
Subject: [microsound] Sonic Circuits: Sutekh, Portable and Multi-av Techclub
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presented by Sonic_Circuits_DC_2004 Festival

who----------------------------------
Sutekh
Portable
Techclub Event 4 Multi-av cross continental jam with Mikroknytes (USA), 
Sawtooth (England) and Darren Zeising aka "Stalker" (Australia)
djs:Ladyplastik, Red Dakini

date-----------------------------------
Friday September 10th, 2001

location-----------------------------
Flashpoint
916 G Street, NW
Washington, DC 20001
USA
starts 8pm $10

relevant URLs:
Mikroknytes: http://www.mikroknytes.com
Sawtooth:  http://www.sawtooth.org.uk/
Visitors Studio: http://www.furtherstudio.org/live/
Flashpoint: http://www.flashpointdc.org/homepage.html
Techclub-dc: http://www.techclub-dc.com/
Sutekh: http://www.context.fm/sutekh.html
Portable: http://www.discogs.com/artist/Portable
Ladyplastik: http://www.firstladiesdc.com/

SONIC CIRCUITS FESTIVAL (quick-n-dirty PDF)
http://www.composersforum.org/objects/Chapters/Washington_DC/sc04%20lineup%201-pager%20letter%20size.pdf




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From ???@??? Wed Sep  8 20:09:50 2004
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Date: Wed, 08 Sep 2004 20:59:21 +0200
From: bastien remion <xxxxxxxxx@xxxx.xx>
Subject: [microsound] Playlist "electrons libres-Futur (re)mix"
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Hello everybody all the microsounder's...Como allez-vous???

WELCOME TO THE ELECTRONS LIBRES AND FUTURE (re)<MIX NEWSLETTER

-----------------------------FUTUR (re)MIX--------------
------------POWERPLAY--------------------------13h/15h30----------
----------------------------06/09/04-----------------------------
Check the Playlist and all good and hot guide Clubbing/Concert @
http://www.radiobeton.com 

Part1:
RatataBACK...This is for reel...This is : 
THE BRAIN ( Funny Thinks , Funny Groovy ) http://thebrain.lautre.net

Part2:
1-Metrosoul: If this (Metro Music)
    -Ep "If this"    http://www.metrosoul.net
2-Sweet nCandy: Afterhours (Lebensfreude, Intergroove)
    -V/A "Lebensfreude"
3-Cruz: Bits (Morris audio "Citysport")
    -Ep "Analyse"
4-Benny Blanko: Beatdown on electric avenue (Playhouse, La Baleine)
    -Lp "8Ft in the air"
5-Snax: Another fantasy shot to hell (Mental Groove, Pias)
    -Lp "From the rocking chair to the stage"
6-Candido: Dancing & Prancing (Salsoul re-edit-1979)
    -Ep "the Salsoul re-edit series"
7-The Roots: Melting Pot (Okayplayer, Geffen)
    -Lp "The Tipping Point-Limited Edition"
8-Manzel: Space Funk [Kenny Dope remix] (Dopebrother)
    -Ep "Space Funk"
9-Matthew Dear: And in the night (Ghostly, La Baleine)
    -Lp "Backstroke"    http://www.ghostly.com
10-Ludvig Elblaus: Nattbloss (New Speak)
    -Ep "Inflytt"    http://www.new-speak.com
11-Bjork: Oceania + Who it is (One little Indian, Barclay)
    -Lp "Medulla"
12-Robag Wruhme: Jause (Musik Krause, Komapkt)
    -Lp "Wuzzelbud KK"
13-Ricardo Villalobos: Monobox remix vol1 (Logistic)
    -Ep "Monobox rmx"    V/A "Monobox remix" qui comprend tout les Ep dispo
bientot...

Heee ya....
Happyness all and "see the Sun"
Bye!!!

----------------------------***--//---]]]-[-------------------
Radio Béton 93.6/electrons libres  all monday 17h-18h 
                           /The Brain 13h-14h
                           /Future (re)Mix monday 14h-15h30
90 avenue Maginot
37100 Tours
tèl:0247510383
http://www.radiobeton.com

        


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From ???@??? Thu Sep  9 01:38:57 2004
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Date: Wed, 08 Sep 2004 12:43:57 -0700
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] texts on systems art?
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can anyone point me towards good texts on systems art? (URL's, books, 
papers/pdf's, etc)...I'm doing some research for some workshops I'm 
conducting this fall
thanks in advance!
KIM


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anyone been able to get on the server lately? I haven't been able to 
for the past week...
???


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From ???@??? Wed Sep  8 22:59:01 2004
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Date: Wed, 08 Sep 2004 23:58:41 +0100
From: slow sound system <xxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] slow sound system : motion / recon mp3s + resonance fm
 show
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SLOW SOUND SYSTEM
LIE DOWN AND BE COUNTED

New stuff for September 2004 ...

-----

MOTION / RECON MP3 STREAM
We have a brand new set by acclaimed sound artist Chris Coode, aka Motion
(12k, Line, Fat Cat) and Recon (Highpoint Lowlife). It's a live set he did
for us at the Foundry in February this year.

The set is a mix of the static, microscopic Motion sound and the
stripped-down Chain Reaction techno of Chris' recent experiments as Recon. A
rich and beautiful soundscape. Listen now at http://www.slowsound.net.

Praise for Motion: ' If only all music were like the good parts of Every
Action.' Stylus
Praise for Recon: 'glimpses into infinite rhythms that will go on
reverberating long after we're redirected our ears.' The Wire

Get hold of Motion at http://www.12k.com and Recon at
http://www.highpointlowlife.com.

Over the next few months we'll be hosting our entire library of live sets
online, thanks to the kind folks at http://www.archive.org. Look out for
material from Crucial Felix/Timeblind, Adam Butler/Vert, Sebastien Roux,
Duff Parka, Paul Hood, Murmer, Dual and others.

-----

'SMALL PIECES', FRIDAYS, RESONANCE 104.4FM
We're co-hosting a new show on Resonance FM. It's called 'Small Pieces' and
is run by the slow sound system, Sprawl, Highpoint Lowlife Records and
[no.signal], with regular guest spots from DFuse, MidRange and others.

We're really pleased about this - it gives all the interlocking players of
the London scene a platform to present themselves. The show runs every
Friday night, 12am-1am GMT. Go to 104.4fm in London, or
http://www.resonancefm.com everywhere else.

Eric from [no.signal] kicks off this Friday night, highlighting artists from
this month's Sonic Acts Festival in Amsterdam. Expect material from Chris
Watson, Byetone, Fennesz, Philip Jeck, DJ /Rupture, CM Von Hausswolff and
others. For more info, head to http://nosignal.slab.org and
http://www.sonicacts.com.

-----

PLAYLIST
What's on the decks at the moment:

Ken Ikeda - Merge (Touch)
Six Organs of Admittance - The Manifestation / The Six Stations (Strange
Attractors)
Matmos - The Civil War (Matador) (again ...)
Various Artists - There Is No Hidden Meaning (kabukikore)
Mouse On Mars - Radical Connector (Sonig)
Arve Henriksen - Chiarascuro (Rune Grammafon)
Recon - White Label Deconstruction (Highpoint Lowlife)

-----

Happy listening!

slow sound system

slow sound system
a walk on the mild side

xxxx@xxxxxxxxx.xxx
www.slowsound.net

-----
in league w/ [no.signal] | sonomu | highpointlowlife | midrange | frequenzen
| kultureflash | sprawl
-----
-----

'small pieces', every friday night on resonance 104.4fm, 12-1am |
http://www.resonancefm.com
'there is no hidden meaning' compilation, out now on kabuki kore |
http://www.kabukikore.net

-----

'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
remix and rebuild project on 8bitrecs |
http://www.8bitrecs.com
imax photogallery |
http://www.lomohomes.com/imax

-----

[no.signal] : promoters of genius |
http://nosignal.slab.org
london headphones festival 2004 |
http://state51.org/placard
sonomu : sound noise music |
http://www.sonomu.net
highpointlowlife : guitars and laptops live happily ever after |
http://www.highpointlowlife.com
frequenzen, fortnightly on resonance 104.4fm |
http://www.frequenzen.co.uk
kultureflash : headlines from london |
http://www.kultureflash.net
sprawl club @ lifthouse |
http://www.dfuse.com/sprawl

-----
-----
no? reply to this mail with 'get off' in the subject line
-----



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From ???@??? Thu Sep  9 01:04:05 2004
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Hello everybody mi name s Jason from Argentina  check these play list:
This is the sound who represent the underground dj's and producers in the
third word!

http://www.buenosaliens.com/charts.cfm/cod.9191.htm
http://www.buenosaliens.com/charts.cfm/cod.9222.htm
http://www.buenosaliens.com/charts.cfm/cod.9219.htm
http://www.buenosaliens.com/charts.cfm/cod.9221.htm
http://www.buenosaliens.com/charts.cfm/cod.9215.htm





on 9/8/04 3:59 PM, bastien remion at xxxxxxxxx@xxxx.xx wrote:

> Hello everybody all the microsounder's...Como allez-vous???
> 
> WELCOME TO THE ELECTRONS LIBRES AND FUTURE (re)<MIX NEWSLETTER
> 
> -----------------------------FUTUR (re)MIX--------------
> ------------POWERPLAY--------------------------13h/15h30----------
> ----------------------------06/09/04-----------------------------
> Check the Playlist and all good and hot guide Clubbing/Concert @
> http://www.radiobeton.com
> 
> Part1:
> RatataBACK...This is for reel...This is :
> THE BRAIN ( Funny Thinks , Funny Groovy ) http://thebrain.lautre.net
> 
> Part2:
> 1-Metrosoul: If this (Metro Music)
> -Ep "If this"    http://www.metrosoul.net
> 2-Sweet nCandy: Afterhours (Lebensfreude, Intergroove)
> -V/A "Lebensfreude"
> 3-Cruz: Bits (Morris audio "Citysport")
> -Ep "Analyse"
> 4-Benny Blanko: Beatdown on electric avenue (Playhouse, La Baleine)
> -Lp "8Ft in the air"
> 5-Snax: Another fantasy shot to hell (Mental Groove, Pias)
> -Lp "From the rocking chair to the stage"
> 6-Candido: Dancing & Prancing (Salsoul re-edit-1979)
> -Ep "the Salsoul re-edit series"
> 7-The Roots: Melting Pot (Okayplayer, Geffen)
> -Lp "The Tipping Point-Limited Edition"
> 8-Manzel: Space Funk [Kenny Dope remix] (Dopebrother)
> -Ep "Space Funk"
> 9-Matthew Dear: And in the night (Ghostly, La Baleine)
> -Lp "Backstroke"    http://www.ghostly.com
> 10-Ludvig Elblaus: Nattbloss (New Speak)
> -Ep "Inflytt"    http://www.new-speak.com
> 11-Bjork: Oceania + Who it is (One little Indian, Barclay)
> -Lp "Medulla"
> 12-Robag Wruhme: Jause (Musik Krause, Komapkt)
> -Lp "Wuzzelbud KK"
> 13-Ricardo Villalobos: Monobox remix vol1 (Logistic)
> -Ep "Monobox rmx"    V/A "Monobox remix" qui comprend tout les Ep dispo
> bientot...
> 
> Heee ya....
> Happyness all and "see the Sun"
> Bye!!!
> 
> ----------------------------***--//---]]]-[-------------------
> Radio Béton 93.6/electrons libres  all monday 17h-18h
> /The Brain 13h-14h
> /Future (re)Mix monday 14h-15h30
> 90 avenue Maginot
> 37100 Tours
> tèl:0247510383
> http://www.radiobeton.com
> 
> 
> 
> 
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is it simular to procces art

-------------- Original message from Kim Cascone : -------------- 

> can anyone point me towards good texts on systems art? (URL's, books, 
> papers/pdf's, etc)...I'm doing some research for some workshops I'm 
> conducting this fall 
> thanks in advance! 
> KIM 
> 
> 
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From ???@??? Thu Sep  9 04:54:34 2004
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i still get a "bad address" error with frogblast on panther.
b

On Sep 8, 2004, at 6:13 PM, Kim Cascone wrote:

> anyone been able to get on the server lately? I haven't been able to 
> for the past week...
> ???
>
>
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>
>
bruce tovsky
www.skeletonhome.com


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From ???@??? Thu Sep  9 16:44:40 2004
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Date: Thu, 09 Sep 2004 12:44:02 -0400
From: "<<sabrina>>" <xxxxxxx.xxx@xxxxx.xxx>
Subject: [microsound] Tomorrow night @ I/O OTTO VON SCHIRACH's R.D.P
To: xxxxxxxxxx@xxxxxxxxx.xxx, xxxxxxx@xxxxxxxxx.xxx
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-_-_-_-_-_-_-_ RECORD DISEASE PARTY-_-_-_-_-_-_-_ 

Friday Sept. 10, 2004 
---------------------------------------------------- 
Main Room 
---------------------------------------------------- 
Live Performances By: 
OTTO VON SCHIRACH 
DOOR MOUSE 
FINESS AND RUNWAY 
PHOENECIA 
YARLEN 
AUDIOSE AND FAREWELL MY ANGEL 
---------------------------------------------------- 
DJizm 
---------------------------------------------------- 
KARAKTER 
AURA 
HAVIKEN HAYES 
BOBBY D. 
---------------------------------------------------- 
Bar Room 
---------------------------------------------------- 
AS1 
SALIM RAFIQ 
POLARIS 
MONIKER 
----------------------------------------------------- 
In The Garden 
----------------------------------------------------- 
THE ELEKTRIK KINGDOM KREW 

Location 
@ I/O Lounge In downtown Miami 
30 N.E 14 ST. Miami, FL, 80808 (Right Off Biscayne Blvd) 
18 to get bizzy, 21 to get Dizzy! 
$10 Entry All Night 
Ladies In Free B4 midnight! 
Doors open @ 10 PM 
Show Begins @ 10:01 

Fir miew info : www.iolounge.com 
Listen to WVUM 90.5 Monday 10- 1am and Fridays 7pm- 1am For Give aways! 
Otto Von Schirach 

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

"Global Speaker Fisting" 

http://www.ottovonschirach.com 

New Album *OUT NOW!* 

1.web: http://www.ottovonschirach.com/ 
2.buy: http://www.asphodel.com/cat/sch_044.html 
3.listen: http://www.myspace.com/ottovonschirachwilleatyourbrain 


-- 
sabrina j. winogrond
ft. lauderdale/ miami record pool. director
954.563.3888
954.608.4198 (( c ))

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From ???@??? Thu Sep  9 17:43:43 2004
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Date: Thu, 09 Sep 2004 10:29:38 -0700
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] RIAA being sued
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http://news.com.com/P2P+company+sues+RIAA+over+patent/2100-1027_3 
-5357332.html


:)


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From ???@??? Thu Sep  9 23:26:57 2004
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Date: Thu, 09 Sep 2004 23:26:40 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Twiki
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Hey all,

Is there a way to upload files to the Twiki server? I have started a page 
called OpenPatches where people can post code for Csound or SuperCollider, 
patches for Max or PD, or similar for free re-use, re-distribution, and 
improvement by anyone.

http://microsound.nexthop.net/bin/view.cgi/Main/OpenPatches

Also feel free to check out the OpenSourceSoftware page. I've updated it, 
added a few things and organized it a bit better.

http://microsound.nexthop.net/bin/view.cgi/Main/OpenSourceSoftware

p


"Computers in the future may weigh no more than 1.5 tons."
Popular Mechanics, 1949


=========
Phil Thomson
home: http://www.sfu.ca/~pthomson
label: http://centibel.org/
blog: http://pthomson.blogspot.com/
group: http://groups.yahoo.com/group/databenders/
=========

SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.

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From ???@??? Fri Sep 10 00:36:49 2004
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billy - 

are you going to those openings tomorrow? how about class today? ta-dow.



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snappy.

I guess it is late for sitting around, but whatev.

I have that meeting @ noon (@ list) and will work until at least 4pm 
after that.  right?

I guess the "InVisible" poop opening @ like 5 and then to the fancy one.

I guess?

right!

On Sep 9, 2004, at 8:36 PM, Jason Z. Moore wrote:

> billy -
>
> are you going to those openings tomorrow? how about class today? 
> ta-dow.
>
>
>
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>
"You might laugh at me and call me Brigitte Bardot but when bombs get 
dropped they hit cats." chris nagler


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UGH!!!!! ARGH!!!!!!!!!!


> nice. i'll be at list too, but then nothing till opening snazziness. dunno 
> about dinner tho.
> 
>
super!

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From ???@??? Fri Sep 10 01:52:40 2004
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Is there a reason why you are having this conversation onlist? It seems 
lately like people are having lots of conversations onlist that don't 
seem to contain any useful info about microsound for other people on the 
list. For my part, I would prefer that these conversations remain offlist, 
unless you can explain to me why it's necessary that they be public. TIA.

P


> snappy.
>
> I guess it is late for sitting around, but whatev.
>
> I have that meeting @ noon (@ list) and will work until at least 4pm after 
> that.  right?
>
> I guess the "InVisible" poop opening @ like 5 and then to the fancy one.
>
> I guess?
>
> right!
>
> On Sep 9, 2004, at 8:36 PM, Jason Z. Moore wrote:
>
>> billy -
>> 
>> are you going to those openings tomorrow? how about class today? ta-dow.
>> 
>> 
>> 
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>> 
>> 
> "You might laugh at me and call me Brigitte Bardot but when bombs get dropped 
> they hit cats." chris nagler
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>

"Computers in the future may weigh no more than 1.5 tons."
Popular Mechanics, 1949


=========
Phil Thomson
home: http://www.sfu.ca/~pthomson
label: http://centibel.org/
blog: http://pthomson.blogspot.com/
group: http://groups.yahoo.com/group/databenders/
=========

SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.

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From ???@??? Fri Sep 10 02:06:56 2004
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nice. i'll be at list too, but then nothing till opening snazziness. dunno 
about dinner tho.

super!

On Thu, 9 Sep 2004, billy wrote:

:snappy.
:
:I guess it is late for sitting around, but whatev.
:
:I have that meeting @ noon (@ list) and will work until at least 4pm 
:after that.  right?
:
:I guess the "InVisible" poop opening @ like 5 and then to the fancy one.
:
:I guess?
:
:right!
:
:On Sep 9, 2004, at 8:36 PM, Jason Z. Moore wrote:
:
:> billy -
:>
:> are you going to those openings tomorrow? how about class today? 
:> ta-dow.
:>
:>
:>
:> ---------------------------------------------------------------------
:> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
:> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
:> website: http://www.microsound.org
:>
:>
:"You might laugh at me and call me Brigitte Bardot but when bombs get 
:dropped they hit cats." chris nagler
:
:
:---------------------------------------------------------------------
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:



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From ???@??? Fri Sep 10 03:36:54 2004
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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] Anarchist U
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what a great idea! for those of you fortunate enough to live in Toronto:
http://anarchistu.org/bin/view/Anarchistu


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From: Ivan Pope <xxxx@xxxxxxxx.xxx>
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Hey, this isn't a private chat room, it's a public mailing list. 
Can we keep the private stuff offlist?
Thanks,
Ivan

----------------------------------------------------------------------------
-------
Ivan Pope          xxxx@xxxxxxxx.xxx          http://ivanpope.com
 
Absent WithOut Leave: My life as an artist
http://blog.ivanpope.com
 
The Man Who Invented The Internet
http://blog.themanwhoinventedtheinternet.com
 

> -----Original Message-----
> From: Jason Z. Moore [mailto:xxxxxx@xxxxxxx.xxx] 
> Sent: 10 September 2004 01:37
> To: microsound
> Subject: [microsound] opening
> 
> billy - 
> 
> are you going to those openings tomorrow? how about class 
> today? ta-dow.
> 
> 
> 
> ---------------------------------------------------------------------
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> 



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From ???@??? Fri Sep 10 12:24:56 2004
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From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: Re: [microsound] Twiki
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hi

( 04.09.09 23:26 +0000 ) Phil Thomson:
> Is there a way to upload files to the Twiki server?


you are supposed to be able to attach files. this functionality is
presently not working. it is on my list to look at this.

work has been pretty insane for me, and also, i'm trying to squeeze a
little time away from a computer screen while the summer weather is
still around here in new england.

i hope to have this resolved soon. sorry for the delay.

in the meantime you can use the wiki to point to other places where the
documents/patches/whatever might exist.

thx for being patient.

-- 
\js  http://or8.net/~johns      \;     ;         -           -__~+ 

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hello all

do tune-in/log-on tonight at 12am GMT on Resonance FM 104.4 for our 
opening of the co-hosted / rotating show 'Small Pieces' (in order: 
sprawl/d-fuse, slowsound system and Highpoint Lowlife).

[no.signal]'s show will focus on one experimental music festival per 
month highlighting its ethos, program and selecting tracks amongst the 
invited artists.

--
'SMALL PIECES' | [no.signal] presenting SonicActsX, unsorted | 23-25.09 
| amsterdam (nl) | http://www.sonicacts.com/index.html

        [where]: resonance FM 104.4 | london > everywhere (www.resonancefm.com)
        [when]: fridays 12-1am GMT (once a month)
        [what]: selection from current line-up including MIMEO, Radian, Chris 
Watson, CM Von Hausswolff, Philip Jeck, ...,
        [how]: brief talk/presentation + track selection...and some drinks in 
company
--

next edition:

October 8:
        Instal, festival for Brave Music |16-17.10 | glasgow (uk) | 
http://www.instal.org.uk/

thanks for your attention, check the site for further details, archive, 
final playlist

yours

e/n
--
[no.signal]
http://nosignal.slab.org | xxxx@xxxx.xxx
mailing list: http://nosignal.sonomu.net
|||||||
--Boundary_(ID_Pq99QFCHRCwwTDGhgjRnlQ)--

From ???@??? Fri Sep 10 14:23:36 2004
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Date: Fri, 10 Sep 2004 14:23:26 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [OT]? On fighting software patents
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Hey all,

Check out RMS's article on NewsForge about fighting software patents. 
Patents are a huge threat to free and open-source software, and they are, 
in fact, the antithesis of software freedom - free software encourages you 
to share, patented software will get you sued if you share. For those of 
us who are interested in the development of free software for any purpose, 
including sound production, fighting software patents is a pretty good 
idea. This benefits everyone who uses computers, not just developers. It's 
not just about the software; it's about what kind of world we want to 
live in and what kind of rights we want to have with regards to 
creative work such as software development.

</lecture>

http://www.newsforge.com/article.pl?sid=04/09/09/1612239

P


"Computers in the future may weigh no more than 1.5 tons."
Popular Mechanics, 1949


=========
Phil Thomson
home: http://www.sfu.ca/~pthomson
label: http://centibel.org/
blog: http://pthomson.blogspot.com/
group: http://groups.yahoo.com/group/databenders/
=========

SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.

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From ???@??? Fri Sep 10 16:56:39 2004
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Date: Fri, 10 Sep 2004 18:55:33 +0200
From: christian meinke <xxxxxx@xxxxxxx.xxx>
Subject: [microsound] Welcome to . Minlove V2
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        During the last months we revised the structure 
and the main concern of the netlabel and the website. 
This process was accompanied by many new stakes 
and changes. 
To work more forcefully and concentratedly, we 
decided to promote only certain sound esthetics - 
based on our love for minimal music and influences of 
dub, clicks&cuts and sensitive microhouse elements.
Furthermore we have initialized a discussion forum and 
and a main user.interface which offers a wide range of 
possibilities to take influence on the sites content and 
orientation.

---

        We permanently look for artists,authors and 
editors for this young platform. Besides the maintopics 
and the included netlabel for minimal soundarts and music, 
we are open for your suggestions according to topics 
and content of this website.

        To review your personal projects and auditory 
experiments just sign in and submit your news and stuff.

---

Don't hesitate to contact us. 

http://www.minlove.net

---

Thanks, cm

..
.. christian meinke
.. berlin (germany)
..
.. www.minlove.net
..
.. presentation platform and discussion forum for 
.. projects within the context of minimal soundart 
.. and music. 
..
.. supported by - pixel X - .
.. www.pixelx.de .
..



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From ???@??? Fri Sep 10 20:06:57 2004
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Subject: [microsound] OpenPatches is now open.
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http://microsound.nexthop.net/bin/view.cgi/Main/OpenPatches

If you're into sharing your tools with the list, post your code and/or 
patches here for AudioMulch, Csound, Max/MSP, PD, SuperCollider, or sim. 
Email me for more details.

P


"Computers in the future may weigh no more than 1.5 tons."
Popular Mechanics, 1949


=========
Phil Thomson
home: http://www.sfu.ca/~pthomson
label: http://centibel.org/
blog: http://pthomson.blogspot.com/
group: http://groups.yahoo.com/group/databenders/
=========

SDF Public Access UNIX System
http://www.freeshell.org/
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well billy...i figured internet porn from about 5 to 6, then cheesies and
the shopping channel from about 6 to midnight ?

smashing !

> snappy.
> 
> I guess it is late for sitting around, but whatev.
> 
> I have that meeting @ noon (@ list) and will work until at least 4pm
> after that.  right?
> 
> I guess the "InVisible" poop opening @ like 5 and then to the fancy one.
> 
> I guess?
> 
> right!
> 
> On Sep 9, 2004, at 8:36 PM, Jason Z. Moore wrote:
> 
>> billy -
>> 
>> are you going to those openings tomorrow? how about class today?
>> ta-dow.


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From ???@??? Fri Sep 10 22:36:36 2004
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Subject: Re: [microsound] opening
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>i figured internet porn from about 5 to 6, then cheesies and
>the shopping channel from about 6 to midnight ?
-So what's more to add to life...

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 ???@??? Sat Sep 11 02:00:53 2004
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From: "Jason Z. Moore" <xxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] opening
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We were actually thinking the internet porn would happen a little earlier, 
but maybe we could be up for the shopping channel? call us.


On Fri, 10 Sep 2004, michael trommer wrote:

:well billy...i figured internet porn from about 5 to 6, then cheesies and
:the shopping channel from about 6 to midnight ?
:
:smashing !
:
:> snappy.
:> 
:> I guess it is late for sitting around, but whatev.
:> 
:> I have that meeting @ noon (@ list) and will work until at least 4pm
:> after that.  right?
:> 
:> I guess the "InVisible" poop opening @ like 5 and then to the fancy one.
:> 
:> I guess?
:> 
:> right!
:> 
:> On Sep 9, 2004, at 8:36 PM, Jason Z. Moore wrote:
:> 
:>> billy -
:>> 
:>> are you going to those openings tomorrow? how about class today?
:>> ta-dow.
:
:
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:

-- 
jason z. moore
graduate student
computer music and multimedia composition
brown university
http://www.badmonkey.org


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From ???@??? Sat Sep 11 02:09:35 2004
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>we could be up
-This seems to be an important point in the particular target-area
 you are mentioning...

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 ???@??? Sat Sep 11 03:29:59 2004
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From: effnaut the first <xxxxxxx@xxxxx.xxx>
Subject: [microsound] FA : AFX - Hangable Auto Bulb 1 & 2
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That's right. These babies need new homes to live out
their adolescent years. Here you go:

http://search.ebay.com/hangable-auto-bulb_W0QQsokeywordredirectZ1QQfromZR8


e.


                
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"aim to please"

please!


(refer to subject)


zulick - the bourbon?  whatev, bumblebee costume change/TAZ 
relationships - absolute ToTal.





On Sep 10, 2004, at 10:09 PM, Arie van Schutterhoef wrote:

>> we could be up
> -This seems to be an important point in the particular target-area
>  you are mentioning...
>
> 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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>
>
"        I want to go to the elevator
& ascend in the cool
wind that lifts us
in our just-awake traits
into the dusk & our skirts asking questions

of cringing atoms singing like brass bands in the closet

I will make the music for you, a view
with no pictorial illusion of volumetric space"        -eleni sikelianos


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From ???@??? Sat Sep 11 04:33:12 2004
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From: "Jason Z. Moore" <xxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] opening
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No kidding. Bumblebee to stumblepleeze. ToTal indeed - they kicked it back 
to lobster's hotel and did a little aiming of their own. ewwww. i did just 
type that. oh well, i'm a little tipsy.

On Sat, 11 Sep 2004, billy wrote:

:zulick - the bourbon?  whatev, bumblebee costume change/TAZ 
:relationships - absolute ToTal.
:
:
:
:
:
:On Sep 10, 2004, at 10:09 PM, Arie van Schutterhoef wrote:
:
:>> we could be up
:> -This seems to be an important point in the particular target-area
:>  you are mentioning...
:>
:> 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 |
:>
:>        *===========================================================++
:>   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
:> .....................................................................
:>
:>
:>
:> ---------------------------------------------------------------------
:> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
:> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
:> website: http://www.microsound.org
:>
:>
:"        I want to go to the elevator
:& ascend in the cool
:wind that lifts us
:in our just-awake traits
:into the dusk & our skirts asking questions
:
:of cringing atoms singing like brass bands in the closet
:
:I will make the music for you, a view
:with no pictorial illusion of volumetric space"        -eleni sikelianos
:
:
:---------------------------------------------------------------------
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:website: http://www.microsound.org
:

-- 
jason z. moore
graduate student
computer music and multimedia composition
brown university
http://www.badmonkey.org


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On 9/11/04, Jason Z. Moore said something like:

>type that. oh well, i'm a little tipsy.

I'm sure a little more Viagra will steady your hand...

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Sat Sep 11 12:29:40 2004
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Date: Sat, 11 Sep 2004 13:28:34 +0100
From: Thanos Chrysakis <xxxxxxxx@xxxxxxx.xx.xx>
Subject: Re: [microsound] OpenPatches is now open.
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on 9/10/04 9:06 PM, Phil Thomson at xxxxxxxx@xxxxxxxxx.xxx wrote:


> http://microsound.nexthop.net/bin/view.cgi/Main/OpenPatches
> 
> If you're into sharing your tools with the list, post your code and/or
> patches here for AudioMulch, Csound, Max/MSP, PD, SuperCollider, or sim.

bravo Phil!

Thanos


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From ???@??? Sat Sep 11 12:59:15 2004
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From: Thanos Chrysakis <xxxxxxxx@xxxxxxx.xx.xx>
Subject: [microsound] La nuit des meutes : une nuit d'
        =?windows-1254?B?6Q==?=meutes festives le 30.10.04
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keywords:;The night of the packs : an international underground party the
10.30.04

http://nuitdesmeutes.ouvaton.org/index.php?newlang=english


TC


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From ???@??? Sat Sep 11 18:07:35 2004
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Subject: [microsound] [ot] Sabrina Raaf
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--Boundary_(ID_Dx81lOyJKs4UOG5/piq3lA)
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does any one know how get in contact with a chicago based artist named Sabrina Raaf . i need to ask her something
-t
--Boundary_(ID_Dx81lOyJKs4UOG5/piq3lA)--

From ???@??? Sat Sep 11 20:07:42 2004
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 FILETIME=[CAB2B110:01C4983A]


I Just typed her name into a search engine and came up with-  
xxxxxxx@xxxx.xxx
Have you tried that address yet?


>From: xxxxxxx@xxx.xxx
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>Subject: [microsound] [ot] Sabrina Raaf Date: Sat, 11 Sep 2004 18:07:24 
>+0000
>
>does any one know how get in contact with a chicago based artist named 
>Sabrina Raaf . i need to ask her something
>-t

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From ???@??? Sun Sep 12 06:44:06 2004
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Date: Sun, 12 Sep 2004 09:43:55 +0300
From: k o t r a <xxxxx@xxx.xxx>
Subject: [microsound] NEXSOUND artists Live at Berlin / 15.09.2004 / Palast Der
 Republik
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hi friends

Andrey Kiritchenko, Kotra, Zavoloka and Infra Red Army 
will play at "Being the Future" festival at Palast Der Republik, Berlin.
15th of September.

- - -
all the best,
Kotra
http://kotra.org.ua
http://nexsound.org

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From ???@??? Sun Sep 12 07:15:06 2004
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Date: Sun, 12 Sep 2004 00:14:28 -0700
From: "j.frede" <xxxxxx@xxxxxxx-xxxxxxxxxx.xxx>
Subject: [microsound] euro list members...
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i will be starting a european tour soon (along with two other artists) and 
we would love to meet up with any list members is the cities we are playing 
in,,, have dinner or coffee , or the like...

heres a list of the cities we will be in,, if you are in or around and want 
to meet up, please email me off list...

oct.2 - oct.25
amsterdam...(3rd-6th)
cologne...(7th)
munster...(8th)
berlin...(9th-11th)
prague...(12th-13th)
vienna...(13th-16th)
bern/zurich...(16th-18th)
nantes...(19th-21st)
paris....(22nd-25th)

also anyone that does radioshows in these areas we would love to do some 
live radio stuff if possible..

until then
j.frede
xxxxxx@xxxxxxx-xxxxxxxxxx.xxx
www.jfrede.com 



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From ???@??? Sun Sep 12 20:16:36 2004
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Date: Sun, 12 Sep 2004 20:16:27 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] OpenPatches
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Hey all,

Three new items up at the OpenPatches page on the Twiki server.

http://microsound.nexthop.net/bin/view.cgi/Main/OpenPatches

Feel free to check it out.

Also, I've been thinking that it would be great to have stuff up there 
other than code and patches. Like images, video, sound files, 
open-source GIMP or Photoshop plugins, etc. Basically anything open and 
re-usable. We do have an FTP server for upload space 
(twiki:xxxxxxxxxxx@xxxxxxxxxxxxxxx.xxx),  but there's currently only 100 
MB there, so please dont upload huge files.

If people think that they might start uploading stuff other than code, 
than maybe I'll move the OpenPatches page to a page called OpenContent or 
something.

Whatcha t'ink?

P


"Computers in the future may weigh no more than 1.5 tons."
Popular Mechanics, 1949


=========
Phil Thomson
home: http://www.sfu.ca/~pthomson
label: http://centibel.org/
blog: http://pthomson.blogspot.com/
group: http://groups.yahoo.com/group/databenders/
=========

SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.

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From ???@??? Sun Sep 12 21:34:53 2004
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Date: Mon, 13 Sep 2004 00:36:17 +0300
From: visa <xxxx.xxxxxx@xxxxxxx.xx>
Subject: [microsound] projects...
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Hi,
there hasn't been any microsound projects in a while, has there? I was
thinking that it might be fun to do something related to the recent decision
by the us federal appeals court which ruled all uncleared sampling illegal:
http://news.bostonherald.com/national/view.bg?articleid=43259

It would imo be interesting to do a project more or less subtly opposing
this ruling. Like for instance, doing tracks entirely from uncleared
samples, but processed unrecognizable...

Is anyone interested in a project like this?

~Visa


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From ???@??? Sun Sep 12 21:56:13 2004
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Date: Sun, 12 Sep 2004 22:56:04 +0100
From: Alex Young <xxxx@xxxxx.xx.xx>
Subject: Re: [microsound] projects...
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What about sampling things legally, like old music or creative commons
music, and documenting exactly how you got from the sampled sounds
to the finished piece?

This would demonstrate how artists can benefit from sampling as a
creative technique.

Microsound techniques such as convolution, granulation, micromontage
and particle cloning would be obvious starting off points.

On 12 Sep 2004, at 22:36, visa wrote:
> Hi,
> there hasn't been any microsound projects in a while, has there? I was
> thinking that it might be fun to do something related to the recent 
> decision
> by the us federal appeals court which ruled all uncleared sampling 
> illegal:
> http://news.bostonherald.com/national/view.bg?articleid=43259
>
> It would imo be interesting to do a project more or less subtly 
> opposing
> this ruling. Like for instance, doing tracks entirely from uncleared
> samples, but processed unrecognizable...
>
> Is anyone interested in a project like this?
>
> ~Visa

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


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From ???@??? Sun Sep 12 22:03:37 2004
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>particle cloning would be obvious starting off points.
-Which might be the case the other techniques you mention,
 but what is particle cloning?

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 ???@??? Sun Sep 12 22:43:52 2004
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From: mic <xxxxxxx@xxx.xx>
Subject: [microsound] new ent web-page
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Hi to all at microsound.

Finally the new ENT webpage is on line.
Please check it:

http://www.ent-sound.tk/

any opinion and feedback are welcome!!
have a good time!
bye!


michele - emanuele
xxxx@xxxxxx.xx 





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michael -

I thought you would phone this weekend? you missssssed a rasta-filled 
party at billy's crib. tons of hipsters - you would have loved it.

Billy: i still have your keys. hope you didn't leave the house today.


On Fri, 10 Sep 2004, michael trommer wrote:

:well billy...i figured internet porn from about 5 to 6, then cheesies and
:the shopping channel from about 6 to midnight ?
:


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From ???@??? Mon Sep 13 02:49:41 2004
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Date: Sun, 12 Sep 2004 23:28:51 -0400
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hi

i've got the attachment thing working on the TWiki- right now only for
one page: CollaborativeAudio [just type it in the Go box].

i wanted to put up a shell of a sound file, and set some rules about it,
but i figure it's better to just open it up instead of waiting for the
muse to strike [which it has, but i haven't put the time in yet
realizing her].

so, i'd like to open it up and let the list decide on a new project. you
can attach files to the page as you want. i kinda had in my mind the
idea that the project should promote sharing in some way, but i'm open
to let it unfold as it seems fit.

we can also use the wiki to decide on the projects focus as i haven't
provided any. i also had the thought that the project would test out the
wiki to see if it works for projects in the same way that the hotline
server used to.

as always, speak up if you have something to say.

-- 
\js  http://or8.net/~johns     ~$<?^  ;+|;.}&::                  >]

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From ???@??? Mon Sep 13 03:01:33 2004
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hi

i thought about making the project audio [and visuals] available as
torrent files, since that seems about the best way to download big
groups of files. i was thinking about doing this for all the existing
projects.

does this seem like a good idea to anyone else?

does anyone who has participated in a project want to avoid having their
work distributed this way?

is it possible to come to any kind of agreement about whether
..microsound project audio is freely distributable or not? it has always
seemed thusly to me, but there is no explicit statement to that affect.

maybe we should put something like that in the project announcements?
[well, at least the projects that are announced with some kind of focus
....] 

-- 
\js    &http://or8.net/~johns           -{}\*@^_~          [/      

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From ???@??? Mon Sep 13 07:04:14 2004
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Date: Mon, 13 Sep 2004 08:04:06 +0100
From: Alex Young <xxxx@xxxxx.xx.xx>
Subject: Re: [microsound] projects...
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These are ideas I had from reading Curtis Roads' book.  Particle
cloning is where you copy a brief waveform and form a greater
sound object by repeating it.  He recommends using filtering
afterwards to sculpt the resulting sound.

I've played around with cloning tiny sections of reverb tails from
field recordings and then making different versions of the
resulting waveforms and programming multi-sample patches in
various samplers.  Most samplers let you control the filtering of
each sample in your patch too.

This all came about because I was interested in seeing how
I could use commercial software that a lot of other electronic
musicians use to apply microsound-related techniques.

I've just looked it up and it's discussed from page 171 in
the Microsound book by Curtis Roads.

On 12 Sep 2004, at 23:03, Arie van Schutterhoef wrote:
>> particle cloning would be obvious starting off points.
> -Which might be the case the other techniques you mention,
>  but what is particle cloning?

--
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music: http://noise.me.uk


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i'm all about it.  there are lots of open source or virtually public 
sound sources out there if you're clever.  also, i duly approve the use 
of small enough snippets or overly processed bits that could near 
impossibly be identified.
-ryan dunn
http://www.liscentric.com

On Sep 12, 2004, at 2:36 PM, visa wrote:

> Hi,
> there hasn't been any microsound projects in a while, has there? I was
> thinking that it might be fun to do something related to the recent 
> decision
> by the us federal appeals court which ruled all uncleared sampling 
> illegal:
> http://news.bostonherald.com/national/view.bg?articleid=43259
>
> It would imo be interesting to do a project more or less subtly 
> opposing
> this ruling. Like for instance, doing tracks entirely from uncleared
> samples, but processed unrecognizable...
>
> Is anyone interested in a project like this?
>
> ~Visa
>
>
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>


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From ???@??? Mon Sep 13 18:10:42 2004
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All of this strikes me as less than inspiring. What's the point of working from stolen samples if you process them beyond recognition and any form of legal identification? Where's the risk in that? Where's the challenge or the protest or the resistance? And what's the point of such an aesthetic? Such an approach merely renders ALL sources equally meaningless because you process them the same way. In such a case, even if you write out your trail of samples and sources, you may as well be working from a copyrighted recording of the Beatles playing "Hey, Bulldog" as from your own field recording of dog farts.

Plunderphonics, mash-ups, and the new Negativland projects (check out "The Mashin' of the Christ" and "No Business" both at http://www.negativland.com) deal with the risk and pleasure of stealing and screwing up other people's stuff ... but the joke is that some of the pieces, and maybe all of them, are ultimately recognizable.  Otherwise, the irony is completely diffused, and the work is deprived of any cultural relevance.

You don't have to be very clever to find open source or "virtually public" samples. They're all over the place. I'm finding it depressing that so many can only conceive of microsound practice as a way to reprocess existing sound files. Yawn. Looking back over the history of microsound projects, most were created in just such a fashion: Parasites reworked Kim's files; McDonna reworked, illegally, Madonna/ACID Planet Loops; Bufferfuct reworked Kim's error files; City of the Future reworked a sample from Tarkovsky. Many of these projects -- and yeah, I've participated in them, too -- sound a lot of like. It seems clear to me that we've hit a creative dead-end -- and yeah, I mean myself, too.

I think it's a big mistake to think that the source is pointless and the process is everything. I'm so sick of max/msp patches and reaktor ensembles that can take anything from Bach to the Beastie Boys and make them sound like the same rumbling static and hi-freq screeches. What's the point? The point is, that microsound has mistakenly overvalued the language of the tool (that is, Kim's "the tool is the message") and process-based art. It has rendered content virtually pointless, and so has become just as bad as the hour-long group whack-offs favored by hippie jam bands.

But I'm really ranting specifically here about sample-based work, which I'm coming to despise in microsound. Is that all we can do? Can anyone on the list make a decent microsound track created from NO PRIOR RECORDED MATERIAL, their own or otherwise? I'm not talking about chopping up your field records and looping them through AudioMulch, or remixing your trash-folder of 2-sec recordings of your crashing hard-drive. Who's doing sample-less work? Or, on the other hand, who is doing risk-taking sample-based work that takes full advantage of the identity of its sources as a way to generate new meanings and recycle culture through the historical onflow of their manipulations?

-=the pHarmanaut


---- other's wrote ----

i'm all about it.  there are lots of open source or virtually public 
sound sources out there if you're clever.  also, i duly approve the use 
of small enough snippets or overly processed bits that could near 
impossibly be identified.
-ryan dunn
http://www.liscentric.com

On Sep 12, 2004, at 2:36 PM, visa wrote:

> Hi,
> there hasn't been any microsound projects in a while, has there? I was
> thinking that it might be fun to do something related to the recent 
> decision
> by the us federal appeals court which ruled all uncleared sampling 
> illegal:
> http://news.bostonherald.com/national/view.bg?articleid=43259
>
> It would imo be interesting to do a project more or less subtly 
> opposing
> this ruling. Like for instance, doing tracks entirely from uncleared
> samples, but processed unrecognizable...
>
> Is anyone interested in a project like this?
>
> ~Visa



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On 13 Sep 2004, at 19:10, Trace E. Reddell wrote:
> All of this strikes me as less than inspiring. What's the point of 
> working from stolen samples if you process them beyond recognition and 
> any form of legal identification? Where's the risk in that? Where's 
> the challenge or the protest or the resistance? And what's the point 
> of such an aesthetic?

No one said anything about their motivations for using samples, apart 
from the original idea which I assume was to argue for creative use of 
samples against the current ruling in the US.

I 'chop up field recordings', but there's emotional inspiration behind 
what I do.  Either that or I'm exploring an abstract idea which could 
be personal or conceptual.  I'm pointing this out because I'm fairly 
sure people aren't using these techniques for the sake of it - as you 
seem to assume.

> I think it's a big mistake to think that the source is pointless and 
> the process is everything.

Don't forget one element of this group is to provide a focus on 
exploring process, so people can learn from each other.  Not every 
piece of music the group contributes to a project is going to break new 
grounds, but it might for the person who wrote it.

Why are you so interested in risk?  Do you make music for an adrenaline 
rush or controversy?  I care more about expressing myself and exploring 
ideas I care about than shocking people.

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


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From ???@??? Mon Sep 13 18:32:12 2004
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Trace,

What constitutes non-sampled content today?

Is such a thing basically a sinewave or synthesizer?
Is that what you mean?
(What about machine presets?)

Aren't field recordings as basic in content as a sinewave (or as
constructed)?


The form of your argument via "content" I am grappling with right now in
writing about Dj Spooky. What can be identified as content? What do we mean
by that? (A side related question: is it possible to speak of a conceptual
artist today without a concept, ie, without content?)

best,

    tobias

> All of this strikes me as less than inspiring. What's the point of working
> from stolen samples if you process them beyond recognition and any form of
> legal identification? Where's the risk in that? Where's the challenge or the
> protest or the resistance? And what's the point of such an aesthetic? Such an
> approach merely renders ALL sources equally meaningless because you process
> them the same way. In such a case, even if you write out your trail of samples
> and sources, you may as well be working from a copyrighted recording of the
> Beatles playing "Hey, Bulldog" as from your own field recording of dog farts.
> 
> Plunderphonics, mash-ups, and the new Negativland projects (check out "The
> Mashin' of the Christ" and "No Business" both at http://www.negativland.com)
> deal with the risk and pleasure of stealing and screwing up other people's
> stuff ... but the joke is that some of the pieces, and maybe all of them, are
> ultimately recognizable.  Otherwise, the irony is completely diffused, and the
> work is deprived of any cultural relevance.
> 
> You don't have to be very clever to find open source or "virtually public"
> samples. They're all over the place. I'm finding it depressing that so many
> can only conceive of microsound practice as a way to reprocess existing sound
> files. Yawn. Looking back over the history of microsound projects, most were
> created in just such a fashion: Parasites reworked Kim's files; McDonna
> reworked, illegally, Madonna/ACID Planet Loops; Bufferfuct reworked Kim's
> error files; City of the Future reworked a sample from Tarkovsky. Many of
> these projects -- and yeah, I've participated in them, too -- sound a lot of
> like. It seems clear to me that we've hit a creative dead-end -- and yeah, I
> mean myself, too.
> 
> I think it's a big mistake to think that the source is pointless and the
> process is everything. I'm so sick of max/msp patches and reaktor ensembles
> that can take anything from Bach to the Beastie Boys and make them sound like
> the same rumbling static and hi-freq screeches. What's the point? The point
> is, that microsound has mistakenly overvalued the language of the tool (that
> is, Kim's "the tool is the message") and process-based art. It has rendered
> content virtually pointless, and so has become just as bad as the hour-long
> group whack-offs favored by hippie jam bands.
> 
> But I'm really ranting specifically here about sample-based work, which I'm
> coming to despise in microsound. Is that all we can do? Can anyone on the list
> make a decent microsound track created from NO PRIOR RECORDED MATERIAL, their
> own or otherwise? I'm not talking about chopping up your field records and
> looping them through AudioMulch, or remixing your trash-folder of 2-sec
> recordings of your crashing hard-drive. Who's doing sample-less work? Or, on
> the other hand, who is doing risk-taking sample-based work that takes full
> advantage of the identity of its sources as a way to generate new meanings and
> recycle culture through the historical onflow of their manipulations?
> 
> -=the pHarmanaut
> 
> 
> ---- other's wrote ----
> 
> i'm all about it.  there are lots of open source or virtually public
> sound sources out there if you're clever.  also, i duly approve the use
> of small enough snippets or overly processed bits that could near
> impossibly be identified.
> -ryan dunn
> http://www.liscentric.com
> 
> On Sep 12, 2004, at 2:36 PM, visa wrote:
> 
>> Hi,
>> there hasn't been any microsound projects in a while, has there? I was
>> thinking that it might be fun to do something related to the recent
>> decision
>> by the us federal appeals court which ruled all uncleared sampling
>> illegal:
>> http://news.bostonherald.com/national/view.bg?articleid=43259
>> 
>> It would imo be interesting to do a project more or less subtly
>> opposing
>> this ruling. Like for instance, doing tracks entirely from uncleared
>> samples, but processed unrecognizable...
>> 
>> Is anyone interested in a project like this?
>> 
>> ~Visa
> 
> 
> 
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tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++ 


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From ???@??? Mon Sep 13 18:33:27 2004
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actually, yeah.  using no prerecorded material is the point of my 
electronic music.  no samples, no computer processing, all live 
immediate electronic minimalism (focusing on the value of the 
interference pattern).  electronic emotive instrumentation is the 
point.  damn the boys with the most toys.  check it.
http://www.liscentric.com/sound.html
-ryan

On Sep 13, 2004, at 11:10 AM, Trace E. Reddell wrote:

> Can anyone on the list make a decent microsound track created from NO 
> PRIOR RECORDED MATERIAL, their own or otherwise?


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I have decided to go OSX only on my G4 PB 500MHz. What
sound apps do you find to be indespensible?

I have SoundHack, Peak 3.0 and Amadeus II.

-Josh Ronsen
in Austin, Texas




                
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> What constitutes non-sampled content today?

Isnt that very obvious? If you sample it, it is sampled. 

There have been analog samplers around - from the Mellotron to maybe the
pitch-changing/time-stretching tape machines the germans made under
WW-II.

While I personally love using analog sound electronics those who create
with digital samples can continue doing so - just ask for a permission.
I dont see the significance of that requirement. Just do it. And even
without permission, for "artsy" type installations/concerts there is
never any trouble - there is no point in suing someone that doesnt have
any money.



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It's not very obvious at all. I mean at the level of the concept. Somebody
diesnged that architecture, created that sine wave. Aren't you sampling
that? If you've read Curtis Roads, or anyone else on electronic sound, then
you know that processes themselves are concepts. Ie contents. And sampling a
process is sampling. Sampling doesn't necessarily refer to a finished piece
of work: as Trace implies, field recording is a form of sampling too. You're
just sampling nature. tV

>> What constitutes non-sampled content today?
> 
> Isnt that very obvious? If you sample it, it is sampled.
> 
> There have been analog samplers around - from the Mellotron to maybe the
> pitch-changing/time-stretching tape machines the germans made under
> WW-II.
> 
> While I personally love using analog sound electronics those who create
> with digital samples can continue doing so - just ask for a permission.
> I dont see the significance of that requirement. Just do it. And even
> without permission, for "artsy" type installations/concerts there is
> never any trouble - there is no point in suing someone that doesnt have
> any money.
> 
> 
> 
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tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++ 


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>Trace,
>
>What constitutes non-sampled content today?

i think someone else answered this - there are many ways of creating 
music, including electronic-based music, without actually sampling 
from a previous recording.  i think this got started because of the 
recently discussed legal issue of uncleared samples (this is all over 
the IDM and CMI lists as well).

i don't see there being any problem with processing beyond 
recognition.  that is basically the way to thwart the ruling - no one 
can catch you if no one can tell the source.  if the artist who made 
the sound can listen to the piece and not recognize it, i'd say 
that's an artistic triumph.

i'm sure this whole thing got started because of the rampant use of 
barely-tweaked song lifting in rap, and perhaps mashups.  i think 
both techniques can be artistically valid. using collage to 
recontextualize the original can have cultural implications beyond 
the purely musical.  putting an old song or identifiabvle snippet in 
a new context stirs up all kinds of emotions in those who recognize 
the source material.  unfortunately, the most widespread (or at least 
most popular) use of this way of doing this seems to be fairly 
pedestrian.

an interesting use of a recontextualized and changed sample that is 
still recognizable comes from industrial dance.  the bassline to the 
nitzer ebb song "without belief" was used in front line assembly's 
"final impact".  even though i can tell the source, it creates an 
entirely new song when layered underneath the new instrumentation. 
even the bassline sample is triggered in a new rhythm instead of 
simply looping it.


>Is such a thing basically a sinewave or synthesizer?
>Is that what you mean?
>(What about machine presets?)

i believe even presets can be used well, although they run the risk 
of tiring ears as much as a recognizable samples.  i know of no one 
who would dare use the dreaded fairlight flute sound completely 
untweaked, unless they were trying to evoke the early-to-mid-80's.


>Aren't field recordings as basic in content as a sinewave (or as
>constructed)?

theoretically, i would agree with that, in the sense that both are 
raw building blocks.  although one could also argue that the content 
of a field recording can be broken down further into smaller parts 
which differ from each other, depending on the sounds in the field 
recording.  i think a sine wave would be pretty much the same no 
matter how much of it you use.  or is that untrue?  anyone here work 
with sine waves?


>The form of your argument via "content" I am grappling with right now in
>writing about Dj Spooky. What can be identified as content? What do we mean
>by that? (A side related question: is it possible to speak of a conceptual
>artist today without a concept, ie, without content?)

so you believe that for a conceptual artist, the concept is the 
content?  i'm not sure i can go along with that.  i have no solid 
examples, but i believe the content of music is the music itself.

the one case i can think of where it could potentially be argued 
otherwise is john cage's "4:33".  the content of the sound (or lack 
thereof) will change each time it's performed, but the concept 
remains the same, and allegedly because of that, it's the same piece.


d.
np: 71 minutes with faust

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i'll added the topic at the start page of our TWiki (i still think the url
is a bit long to remember)
http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
If you forget this url you'll be transferred to this place from
http://microsound.nexthop.net (this address i seem to remember most times.)

/björn eriksson

> hi
>
> i've got the attachment thing working on the TWiki- right now only for
> one page: CollaborativeAudio [just type it in the Go box].
>
> i wanted to put up a shell of a sound file, and set some rules about it,
> but i figure it's better to just open it up instead of waiting for the
> muse to strike [which it has, but i haven't put the time in yet
> realizing her].
>
> so, i'd like to open it up and let the list decide on a new project. you
> can attach files to the page as you want. i kinda had in my mind the
> idea that the project should promote sharing in some way, but i'm open
> to let it unfold as it seems fit.
>
> we can also use the wiki to decide on the projects focus as i haven't
> provided any. i also had the thought that the project would test out the
> wiki to see if it works for projects in the same way that the hotline
> server used to.
>
> as always, speak up if you have something to say.
>
> -- 
> \js  http://or8.net/~johns     ~$<?^  ;+|;.}&::                  >]
>


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From ???@??? Mon Sep 13 19:33:52 2004
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>  > What constitutes non-sampled content today?
>
>Isnt that very obvious? If you sample it, it is sampled.
>
>There have been analog samplers around - from the Mellotron to maybe the
>pitch-changing/time-stretching tape machines the germans made under
>WW-II.
>
>While I personally love using analog sound electronics those who create
>with digital samples can continue doing so - just ask for a permission.
>I dont see the significance of that requirement. Just do it.

the significance is that most of the time, a lot of money is 
involved.  i think this is one reason why most rap has gotten so 
boring.  if you have to pay for each sample, you're going to buy a 
really choice one and use it all over the song.  gone are the days 
public enemy would use 30 samples in the first few bars of a song.

the other motivation for not asking is somewhat childish, but still 
true - the fear they'd say "no".  i think it's hard for artists to 
picture their work sampled in some abstract sense - they'd need to 
hear the track.  that would become problematic if the sampling artist 
doesn't have their own studio.  if the original artist rejects the 
finished track, a lot of time and money has been wasted.


>And even
>without permission, for "artsy" type installations/concerts there is
>never any trouble - there is no point in suing someone that doesnt have
>any money.

this is true.  although an artist's motivation may not be monetary, 
but personal, i.e. they just don't want their music used on a piece. 
if someone in their camp gets wind of the use, they can just send a 
"cease and desist" order, which may include destruction of all copies 
that use the unauthorized sample, as well as some kind of injuction 
barring the further usage of said sample by the person who sampled it.

btw, all this is just my understanding and opinion of the issues - i 
haven't done any legal research into this.


d.

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From ???@??? Mon Sep 13 19:51:18 2004
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Subject: Re: [microsound] OSX sound apps
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> I have decided to go OSX only on my G4 PB 500MHz. What
> sound apps do you find to be indespensible?
>
> I have SoundHack, Peak 3.0 and Amadeus II.


Audacity is quite handy. There are a ton of free audiounit plugins out
there, too.

The best resource out there for news and downloads is www.osxaudio.com




Jonathan

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From ???@??? Mon Sep 13 19:57:05 2004
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Date: Mon, 13 Sep 2004 21:56:57 +0200
From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: [microsound] 'snow white' [was: sampling issues / motivations...]
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>disney didn't need to ask the brothers grimm for 'snow white'.
-I wonder if 'snow white' was asked anyway.
 Forced more likely...

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 ???@??? Mon Sep 13 20:17:06 2004
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Date: Mon, 13 Sep 2004 22:17:09 +0200
From: stephan mathieu <xxxxx@xxxxxx.xxx>
Subject: [microsound] sing sweet software, monday, sept.13, 9pmCDT
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hello, 
i've just found this one -

--
sing sweet software will be back on monday, september thirteenth, 9pmCDT-11pmCDT with a special program spotlighting the music of stephan mathieu.

watch the sing sweet software website for an interview with mr. mathieu and tune in on monday evening to hear his newest release, "On Tape," as well as a preview of his forthcoming record "The Sad Mac" and highlights from his impressive catalogue.

http://structuredsound.net/ssw/
--

you can tune in today, monday sep.13, 9pm CDT at -

http://tinyurl.com/48bfe

best wishes
 - stephan


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From ???@??? Mon Sep 13 19:44:37 2004
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hi

( 04.09.13 15:47 -0400 ) chthonic streams:
> the other motivation for not asking is somewhat childish, but still
> true - the fear they'd say "no".  i think it's hard for artists to
> picture their work sampled in some abstract sense - they'd need to
> hear the track.  that would become problematic if the sampling artist 
> doesn't have their own studio.  if the original artist rejects the 
> finished track, a lot of time and money has been wasted.

and we get another artistic 'victim' of the stupid copyright laws
currently in place. 

irony:
disney didn't need to ask the brothers grimm for 'snow white'. despite
disney's position on the copyright hall of shame, 'snow white' is an
artistic landmark. 

every artist stands on the shoulders of other artists [to a greater or
lesser degree].  so by legislating concepts of ownership on art stuff
the culture loses because you have to ask if you can stand on someone
else's shoulders instead of just doing it and letting it go where ever
it will take you [which is *much* better for art].

-- 
\js    http://or8.net/~johns %          %+&@$                \{>%%#

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From ???@??? Mon Sep 13 20:23:28 2004
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Good points, and I agree with many of them. Interesting discussion.

Yes, I too fell that the processing-snippets-unrecognizable -method is
starting to feel more and more trite. Perhaps a more inspiring starting
point for a project would be to create a track only from unlicensed samples
and apply no other processing to them than cutting/rearranging. How does
this sound to you?

~Visa


----- Original Message ----- 
From: "Trace E. Reddell" <xxxxxxxx@xx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, September 13, 2004 9:10 PM
Subject: [microsound] projects


> All of this strikes me as less than inspiring.

<snip>


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From ???@??? Mon Sep 13 20:24:43 2004
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>you may as well be working from a copyrighted recording of the Beatles
>playing
>"Hey, Bulldog" as from your own field recording of dog farts.
-I think the working circumstances differ: one is less smelly than the other...

>I think it's a big mistake to think that the source is pointless and the
>process is everything.
-The first leads to the second and vice versa.

>I'm so sick of max/msp patches and reaktor ensembles
-Those 'visual audio-programming languages' are very popular these days.

>sound like the same rumbling static and hi-freq screeches.
-Yes, those presets come in handy...

>microsound has mistakenly overvalued the language of the tool
-Seems inherent to Western Culture, valueing the exterior (technology)
 rather than the interior (content).

>"the tool is the message"
-Particular for the person who is trying to sell it...

>process-based art.
-Staring at paint drying (colour dependent, of course)

>Who's doing sample-less work?
- http://www.xs4all.nl/~schreck/html/compo.html


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 ???@??? Mon Sep 13 20:12:27 2004
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Date: Mon, 13 Sep 2004 16:26:10 -0400
From: chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] sampling issues / motivations
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>hi
>
>( 04.09.13 15:47 -0400 ) chthonic streams:
>>  the other motivation for not asking is somewhat childish, but still
>>  true - the fear they'd say "no".  i think it's hard for artists to
>>  picture their work sampled in some abstract sense - they'd need to
>>  hear the track.  that would become problematic if the sampling artist
>>  doesn't have their own studio.  if the original artist rejects the
>>  finished track, a lot of time and money has been wasted.
>
>and we get another artistic 'victim' of the stupid copyright laws
>currently in place.
>
>irony:
>disney didn't need to ask the brothers grimm for 'snow white'. despite
>disney's position on the copyright hall of shame, 'snow white' is an
>artistic landmark.

right, which is why the whole issue has unfortunately become more of 
a monetary issue than an artistic one.  there are no copyrights 
befofe 1926 i believe, at least in the US.  yet if someone "steals" 
from one of those pre-legislated sources, no one goes after them.

obviously in the case of music, there isn't really much recorded 
before that time (if any).  so then, the copyright ends up going to 
the record company who put out a specific recording, even if the 
underlying composition has no copyright (e.g. most classical music).

this is a massive contradiction to me.  i know they're able to do 
this because a composition is considered different from a sound 
recording, but this most often ends up compensating the wrong people 
IMO.  if the laws are saying the identifiable aspect that makes it a 
particular piece is the composition rather than the timbre, then we 
end up with soundalikes, which aren't prosecutable.

example:  someone asks the band squeeze to do a commercial using one 
of their songs.  squeeze refuses.  the ad company then hires people 
to replicate the sound of squeeze perfectly, and write a song 
intentionally meant to sound like the song squeeze refused to give 
permission for.  same key, tempo, phrasing - but it's not the same 
notes or chords or words.  even though this practice is done to 
intentionally fool the public into thinking it is squeeze, or at 
least associate the squeeze sound with a particular product, that is 
perfectly legal, even though it has no artistic merit and is recorded 
strictly for commercial use to generate a profit.

meanwhile, someone who uses a tiny sample creatively, as a part of 
their whole work, whether making a profit or not, can be sued and 
blocked from using it.  this is fucked.

d.

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From ???@??? Mon Sep 13 20:31:17 2004
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Date: Mon, 13 Sep 2004 13:31:08 -0700
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Subject: [microsound] [OT] Japan in october.
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hi everybody,
i'm going to be in tokyo from the 10th to the 24th of october!
i'll be taking field recordings for a dance project.
it will be great to meet tokyo micosounders over tea or cofee or maybe 
yoyogi park!
i'm open to gigs and collaborations!
also, are there any interesting sound events at that time?
paz
J21

justino
aka jorge bachmann                                sculpture-photography-sound
P.O.Box 15953
San Francisco, CA 94115-0953
M-415-706-9629
W-415-750-3517                                        http://anihilo.com


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From ???@??? Mon Sep 13 20:43:07 2004
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Subject: [microsound] Microsound terms
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Could someone explain to me what is meant by granulation?  I think I have a basic idea, however, a more in-depth explanation from those of you who work with this everday would be helpful.

Also, personal messages should be posted elsewhere.  I for one, one do not want to be bothered by someone's oblique references to being a "hipster".


Mark Loush
xxxxxxx@xxxxxxxxx.xxx
Why Wait? Move to EarthLink.
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From ???@??? Mon Sep 13 21:29:47 2004
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From: Neil Wiernik <xxxx@xxxxxxxx.xxx>
Subject: [microsound] phoniq presents akumu, naw and more september 25th
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a night of deep listening... featuring......

akumu - spider records - toronto - live
naw - noise factory records - live
various vs scant intone - phoniq/panospria - live
cyan - ckut-fm - dj

saturday september 25th 2004
la salle d'attente
5490 st laurent
9pm $5

more info about this event comming soon
flyer details can be found here:
http://www.phoniq.net/test/flyer.html

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 =?X-UNKNOWN?Q?Communiqu=E9_-_LABprojects_0904=3A_live_collabora?=
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---------- Forwarded message ----------

ENGLISH TO FOLLOW

Pour diffusion Immédiate

MOONDATA PRODUCTIONS
en association avec O Patro Vys, Brasserie McAuslan, & Envision
Management présentent:

LABprojects 0904
une serie mensuelle de collaborations improviseés en direct

Samedi le 18 Septembre 2004
21h30
O Patrovys
356 Mont-Royal Est

Matt Lederman - guitare, effets
NAW - laptop
Kevin Laing - batterie
Marika Shaw - viola
Monica Guenter - violon
Chris Leroux - batterie électronique
Peter X - basse
Ryhna Thompson - trompette, claviers, effets
Johnny Ranger - visuels
Cyan - DJ

Les LABprojects des Productions Moondata sont des concerts mensuels qui
réunissent les talents de musiciens, DJs et VJs montréalais. Étant
basées sur divers genres musicaux et des idées partagées, les
improvisations donnent souvent naissance à des ambiances plutôt
abstraites, une musique qui va du rock au jazz, en passant par des sons
de musique actuelle, électronique, voire de classique moderne. À chaque
soirée, l’on projette des images qui sont mixées en direct avec la
musique, à l’aide d'équipement de DJs. C'est ainsi que LABproject
devient une exploration de l'image et du son, ainsi qu'un travail de
création collectif.

Pour le premier concert cet automne, Moondata présente une soirée
éclectique d'électronique minimaliste, de big beat et de sons
orchestraux. De l'échantillonage de rythme ainsi que deux sets de
batterie (l'un électronique, l'autre acoustique) inspireront et mèneront
les musiciens à travers toutes sortes de sons, jazzy, techno et rock.
Des violons, claviers, guitares et trompettes viendront intensifier et
adoucir cette musique.

-30-

Pour des informations ou des entrevues, veuillez contacter:
Matt Lederman
LABproject Producer
 <mailto:xxxx@xxxxxxxxxxxxxxxxxxx.xxx> xxxx@xxxxxxxxxxxxxxxxxxx.xxx
514-272-4694

Moondata Productions -  <http://www.moondataproductions.com/>
www.moondataproductions.com
O Patro Vys -  <http://www.opatrovys.com/> www.opatrovys.com
Envision Management -  <http://www.envision247.com/> www.envision247.com
NAW -  <http://www.noisefactoryrecords.com/> www.noisefactoryrecords.com
Cyan -  <http://www.traktion.com/> www.traktion.com


  _____




MOONDATA PRODUCTIONS
in association with O Patro Vys, Brasserie McAuslan & Envision
Management presents:

LABprojects 0904
a monthly series of live collaborative improv between musicians, dj's &
vj's

Saturday 18 September 2004
9:30 pm
O Patro Vys
356 Mont-Royal Est

Matt Lederman - guitar, effects
NAW - laptop electronics
Kevin Laing - drums
Marika Shaw - viola
Monica Guenter - violon
Chris Leroux - electronic drums
Peter X - bass
Ryhna Thompson - trumpet, keyboards, effects
Johnny Ranger - visuals
Cyan - DJ

Moondata Productions' LABprojects is a monthly series based around the
talents of Montreal musicians, DJ's and VJ's. Using shared ideas and
musical sketches, the improvisations often fall between abstract
ambience to in-your-face grooves, from heavy rock to jazz & musique
actuelle, from tripped out electronics to modern classical. Each show is
enhanced with projected visuals that are mixed live to the music, with
DJ sets interspersed between the live musician sets. Molded in the style
of a live workshop, the LABproject (Live Ambience & Beats) becomes a
full exploration of sight, sound, & collaborative creative
possibilities.

For the first session of the new fall season, Moondata offers up an
eclectic night of minimal electronics, big beat and orchestral sounds. A
full powered rhythm section of laptop samples and two drumkits - one
electronic and the other acoustic, will be leading the ensemble through
all sorts of grooves - from jazz house, techno & avant rock. Violins,
violas, horns, keys and guitars will add tension and sweetness to the
night's diverse sounds.

Featured performers:

Matt Lederman - guitar, effects
As one of the founder of the series, 'moondata' Matt orchestrates much
of the goings-on at LABprojects. He has toured the country as
singer/guitarist for PARKSIDE JONES . More recently, he has initiated
LABproject off-shoots SEVENS PROJECT & SOLEL,  while still finding time
to work with a number of local groups as
producer/guitarist/instrumentalist.

NAW - laptop electronics
NAW's music is a blend of sound manipulation/design, experimental music
and dub-tech rhythms. He combines post-house, dubby minimal techno,
microsound and thick ambience, to create his own version of deep techno,
house and other electronic laptop oriented musics. Neil has released
music on various international record labels, including releases on
Noise Factory, Worthy, Clevermusic, and Complot.

Kevin Laing - drums
A multi-instrumentalist, Kevin's open drumming styles currently back the
electro-orchestral pop of MARLOWE , the rock of BESNARD LAKES  and the
post-rock explorations of KINCARDINE . He was also the drummer and
founder of now defunct local experimentalists JA NE FON DORB.

Marika Shaw - viola
This show will mark Marika's first time playing at LABprojects. She
brings classical warmth and professionalism to the proceedings. Chances
are, you've probably heard her play at any number of functions with her
string quartet.

Chris Leroux - electronic drums
Returning to LABprojects for a 3rd time, Chris brings his kinetic
rhythms to power through the night. Chris has been showcased at the
Montreal Drum Fest and has been gigging all over the world with a number
of different projects. Locally, he plays with CHILLBILLY and SOLEL .

Peter X - bass
Along with being one of the founders of LABprojects, Peter has played
with many important Montreal bands: The Umbrellas, Sweet Bastards, Blues
Committee, Martha Wainwright, Parkside Jones, Priya Thomas, amongst
countless others. He now devotes most of his time to playing bass in
WHERE IT HURTS and composing electronic music and soundtracks through
Finite Records.

Ryhna Thompson - trumpet, keyboards, effects
Ryhna  is always keeping busy as a musician and multi-tasker - from
managing KID KOALA & AMON TOBIN  through her company ENVISION  to
playing with ARK OF INFINITY to co-founding Moondata Productions and the
LABproject series. Ryhna has also toured Canada coast to coast as the
singer/songwriter/ trumpeter/keyboardist of PARKSIDE JONES .

Johnny Ranger - visuals
The artistic projects of Johnny Ranger include video works,
interdisciplinary shows, performances and web art. He founded Mindroots
(www.mindroots.com) in 1997, a laboratory of interdisciplinary creation.
A regular of the Sat_mix sessions and Sat_digital Scenes, his
electrifying imagery has grace the sets of Kid Loco, Frivolous, Tobias
V. Veen, James Lavelle, Epsilonlab, Naw, John Howard & Lusine.

Cyan - DJ
The host of CKUT's Modular Systems, cyan's sound can best be described
as layered raw & funky, dense & deep techno rhythms, influenced by the
techno and house sounds of Detroit.  cyan is involved in the phoniq
(phoniq.net) collective, where she co-curates and organizes independent
electronic music events featuring local producers and visual artists.

-30-

For more information or interviews, please contact
Matt Lederman
LABproject Producer
 <mailto:xxxx@xxxxxxxxxxxxxxxxxxx.xxx> xxxx@xxxxxxxxxxxxxxxxxxx.xxx
514-272-4694

Moondata Productions -  <http://www.moondataproductions.com>
www.moondataproductions.com
O Patro Vys -  <http://www.opatrovys.com> www.opatrovys.com
Envision Management -  <http://www.envision247.com> www.envision247.com
NAW -  <http://www.noisefactoryrecords.com> www.noisefactoryrecords.com
Cyan -  <http://www.traktion.com> www.traktion.com




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There is some links to some texts on granulation over at
http://microsound.nexthop.net/bin/view.cgi/Main/GranuLator

Also some pointers to some tools...

/björn


----- Original Message ----- 
From: "Mark Loush" <xxxxxxx@xxxxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, September 13, 2004 10:45 PM
Subject: [microsound] Microsound terms


> Could someone explain to me what is meant by granulation?  I think I have
a basic idea, however, a more in-depth explanation from those of you who
work with this everday would be helpful.
>
> Also, personal messages should be posted elsewhere.  I for one, one do not
want to be bothered by someone's oblique references to being a "hipster".
>
>
> Mark Loush
> xxxxxxx@xxxxxxxxx.xxx
> Why Wait? Move to EarthLink.


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From ???@??? Mon Sep 13 22:37:38 2004
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Subject: [microsound] focus on stephan mathieu - tonight on sing sweet software
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hey, folks,
 
sing sweet software returns to the bit-waves tonight with a special program focussing on the work of stephan mathieu.
 
an interview with mr. mathieu will be uploaded to the ssw website this evening (structuredsound.net/ssw/)
 
be sure to tune in 9pmCDT-11pmCDT at http://structuredsound.net/ssw/ to hear selections from stephan mathieu's catalog old and new, including his newest piece released on Hapna, 'On Tape,' and an exclusive preview of his next record 'The Sad Mac.'
 
'On Tape' is a beautiful new thirty-minute composition that represents a new approach for stephan, simplifying his process to a few simple audio applications matched with careful and listening and sensitive arrangement.  it's available now from hapna.com
 
i'll also be picking up with the two-minute compositions (structuredsound.net/ssw/twomin/) and have further indulged myself in composing a piece in response to stephan's work for this program.
 
thanks for listening!
-jake
 
sing sweet software; electronic music from the margins
every monday 9pmCDT-11pmCDT @ http://structuredsound.net/ssw/
--Boundary_(ID_RMXthjNLbgii/zeXTJdw9w)--

From ???@??? Mon Sep 13 23:56:04 2004
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There's a page on the twiki server about this.

> Could someone explain to me what is meant by granulation?  I think I have a basic idea, however, a more in-depth explanation from those of you who work with this everday would be helpful.
>
> Also, personal messages should be posted elsewhere.  I for one, one do not want to be bothered by someone's oblique references to being a "hipster".
>
>
> Mark Loush
> xxxxxxx@xxxxxxxxx.xxx
> Why Wait? Move to EarthLink.

"Computers in the future may weigh no more than 1.5 tons."
Popular Mechanics, 1949


=========
Phil Thomson
home: http://www.sfu.ca/~pthomson
label: http://centibel.org/
blog: http://pthomson.blogspot.com/
group: http://groups.yahoo.com/group/databenders/
=========

SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.

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From ???@??? Tue Sep 14 01:19:44 2004
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Subject: Re: [microsound] sampling issues / motivations
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chthonic streamswrote:


> this is a massive contradiction to me.  i know they're able to do
> this because a composition is considered different from a sound
> recording, but this most often ends up compensating the wrong people
> IMO.  if the laws are saying the identifiable aspect that makes it a
> particular piece is the composition rather than the timbre, then we
> end up with soundalikes, which aren't prosecutable.
> 
> example:  someone asks the band squeeze to do a commercial using one
> of their songs.  squeeze refuses.  the ad company then hires people
> to replicate the sound of squeeze perfectly, and write a song
> intentionally meant to sound like the song squeeze refused to give
> permission for.  same key, tempo, phrasing - but it's not the same
> notes or chords or words.  even though this practice is done to
> intentionally fool the public into thinking it is squeeze, or at
> least associate the squeeze sound with a particular product, that is
> perfectly legal, even though it has no artistic merit and is recorded
> strictly for commercial use to generate a profit.
> 
> meanwhile, someone who uses a tiny sample creatively, as a part of
> their whole work, whether making a profit or not, can be sued and
> blocked from using it.  this is fucked.

Agree. The mass media industry has capitalised on this legal loophole for
decades.  Most stock-music is essentially the commissioning of sound-alikes.
Change a note here and there, modify the arrangement a bit and its all
perfectly legal. Also during the Cold War, releases from behind the Iron
Curtain could be legally used in Western film television and radio
productions, in their entirety without obtaining copyright clearance (at
least that was the case in the US, the UK and Australia). I wonder if this
loophole still applies to so-called pariah states such as Cuba and North
Korea.

But as concerns sampling, I think there are at least three completely
different practices out there and each needs to be considered separately.

1. Obvious sampling, eg. Jon Oswald (Plunderphonics) Culturecide,
Deconstructing Beck, through to Thomas Brinkman's Soul Centre series. These
pieces announce their appropriation up front. There is no effort to conceal
the source material, and in these works it could be said that sampling <is>
the point.

2. Short samples which are used in combination with other sounds or samples
from other material to create a recombinatory work where the emphasis is on
juxtaposition, collision, mixing and mutating of elements. In these works
the samples are often obscured, cut up, processesd, granulated beyond
recognition. Although there is often a conscious attempt to hide the act of
sampling, the decision to do this has been largely motivated by a compulsion
to creatively deform the source material rather than fear of reprisals.

3. Outright theft. The sampling of large elements such as entire basslines.
Here the there are two categories one legal, the other illegal. In both
cases it is often the case that the sampler wishes to obtain credit for the
work of the samplee. In other words, they hoping to get away with something.
This often occurs to some extent even in cases of legal (cleared) sampling
because the samplee is only credited in the fine print of the album cover.
We now see monstrous combinations of remix, sample and cover-version in
which the boundaries are extremely blurred because the legality of the
cleared sample seems to permit the complete appropriation of another's work
for a fee (to the record company). These tracks sound like a remix, or a
cover version yet they have do not have the same title as the original and
they are not classed as a remix, hence there is no reference to the original
work except in the fine print of the album cover.


Of course the distinction between these categories is often blurred. For
example, the above mentioned "Soul Centre" recordings could easily fall into
all three categories.


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From ???@??? Tue Sep 14 03:47:22 2004
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i think that field recordings are significantly different, content-wise,
from sine waves. i'd say that they're not that different from 'musical'
samples, in that they often evoke a kind of nostalgia, though from a
personal rather than a 'pop' context.

>> Aren't field recordings as basic in content as a sinewave (or as
>> constructed)?


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 FILETIME=[B4DEB6C0:01C49A12]

A field recording could simply comprise of a microphone infront of a 
speaker, playing a copywrited pop mp3 (or sine wave).


>i think that field recordings are significantly different, content-wise,
>from sine waves. i'd say that they're not that different from 'musical'
>samples, in that they often evoke a kind of nostalgia, though from a
>personal rather than a 'pop' context.
>
> >> Aren't field recordings as basic in content as a sinewave (or as
> >> constructed)?

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>> example:  someone asks the band squeeze to do a commercial using one
>> of their songs.  squeeze refuses.  the ad company then hires people
>> to replicate the sound of squeeze perfectly, and write a song
>> intentionally meant to sound like the song squeeze refused to give
>> permission for.  same key, tempo, phrasing - but it's not the same
>> notes or chords or words.  even though this practice is done to
>> intentionally fool the public into thinking it is squeeze, or at
>> least associate the squeeze sound with a particular product, that is
>> perfectly legal, even though it has no artistic merit and is recorded
>> strictly for commercial use to generate a profit.
>>
>>

Actually this situation as described is not "perfectly" legal (if you 
have a good lawyer that is). In the mid-90s Frito Lay wanted Tom Waits 
to do a commercial voice over. He declined the offer. Frito Lay hired 
someone to imitate Tom Waits' vocal style. Waits later sued and won to 
the tune of (if I recall) about $US 2 million. 


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Subject: [microsound] Re: OSX sound apps
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On Sep 13, 2004, at 11:52 AM, Josh Ronsen wrote:

> I have decided to go OSX only on my G4 PB 500MHz. What sound apps do 
> you find to be indespensible?

Hi Josh.

Some cheap shareware that I like:

Karlheinz Essl's Replay Player
http://www.essl.at/works/replay.html

Defective Records VST host app
http://www.defectiverecords.com/vstihost/findex.html

Some sources for freeware

http://www.hitsquad.com/smm/
http://www.smartelectronix.com/ (Koen Tanghe's KT Granulator is awesome)


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From ???@??? Tue Sep 14 05:14:11 2004
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From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] Melbourne ::: Uber_Lingua this thursday at St Jeromes
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Uber_Lingua at St Jeromes ::: every thursday from 7pm till 1am

7 Caledonian Lane, Melbourne CBD
(between little bourke and lonsdale, directly behind the lounge)...

With Mack Daddy Albino Dwarf  on tour in Europe, resident selectors bP and
Saigon Sausage bring in more guests to expose incredibly diverse hiphop,
dub, electronic, post-rock, mutant-folk and other sounds from all regions of
the planet in as many languages possible!!!!

This week (16/09/04) we have three guests :::

Our feature guest is Mugwort Lycanthrope "...From the Residents to The
Boredoms. A journey by train through uncertain aural landscapes. you will be
blessed or cursed by Voodoo witchdoctors and your pockets made lighter by
Romany Gypsies as a Japanese assassin tries to cut off your head.
Destination unknown..."

Also playing 'two tracks' back to back later in the night with bP are
Zaibatsu and OK-Rad. Zaibatsu performs an aesthetic of broken beats, meaning
"anything from hyper-edited hip-hop through to glitched German ghetto-tech
and cut-up funk"... OK-Rad is a mysterious fellow, from Eastern European
background, he recently returned from a tour of India where he revealed his
exotic sonic wares to huge audiences.

Saigon Sausage will not cease to amaze with his incredibly diverse record
collection... Expect the unexpected...

full details at http://www.uberlingua.com

Demos of all sorts can be posted to Uber_Lingua PO Box 2613 Fitzroy 3065





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From ???@??? Tue Sep 14 05:17:04 2004
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From: Ian Andrews <x.xxxxxxx@xxxxxxxxxxx.xxx.xx>
Subject: [microsound] Sampling (was projects)
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The word "sampling" seems to have more than one meaning. The original
meaning, perhaps first coined by EMU or Fairlight for the first digital
samplers (I don't believe that analogue samplers were actually called
samplers at the time), was closer to recording (in general). It was implied
that to sample something was to record sound into the machine via a
microphone. Gradually that first meaning has been superseded by a meaning
which is much closer to "appropriation." I would think that most people when
they use the term sampling today, are referring to the process of
re-recording a short section of pre-recorded sound.
Also "sampling" connotes brevity. This makes it distinct from "recording"
which is usually used to describe the capture of much longer segments of
sound. So in this sense field recording is not sampling (unless the
recordings are very short).

tobias c. van Veenwrote:

> It's not very obvious at all. I mean at the level of the concept. Somebody
> diesnged that architecture, created that sine wave. Aren't you sampling
> that? If you've read Curtis Roads, or anyone else on electronic sound, then
> you know that processes themselves are concepts. Ie contents. And sampling a
> process is sampling. Sampling doesn't necessarily refer to a finished piece
> of work: as Trace implies, field recording is a form of sampling too. You're
> just sampling nature. tV
> 
>>> What constitutes non-sampled content today?
>> 
>> Isnt that very obvious? If you sample it, it is sampled.
>> 
>> There have been analog samplers around - from the Mellotron to maybe the
>> pitch-changing/time-stretching tape machines the germans made under
>> WW-II.
>> 
>> While I personally love using analog sound electronics those who create
>> with digital samples can continue doing so - just ask for a permission.
>> I dont see the significance of that requirement. Just do it. And even
>> without permission, for "artsy" type installations/concerts there is
>> never any trouble - there is no point in suing someone that doesnt have
>> any money.
>> 
>> 
>> 
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>> 
> 
> 
> 
> tobias c. van Veen -----------++++
> http://www.quadrantcrossing.org --
> http://www.thisistheonlyart.com --
> McGill Communication + Philosophy
> --- New School Philosophy --------
> ICQ: 18766209 | AIM: thesaibot +++
> 
> 
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> 
> 


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From ???@??? Tue Sep 14 05:22:42 2004
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Date: Mon, 13 Sep 2004 22:22:36 -0700 (PDT)
From: Dale Lloyd <xxxxx@xxx-xxx.xxx>
Subject: [microsound] affordable internet radio broadcasting?
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--Boundary_(ID_XaNx+cOzxZKd4tqCyBZ2Pg)
Content-Type: text/plain; charset=us-ascii
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Hello .micronauts,
 
I've been starting to research internet radio streaming, but am either finding that the sites 
want a years worth of payment in advance or I have to stream the contents from my 
computer, which isn't practical in my situation. I'm just looking to set up a small but ever-
changing pre-programmed station that will play tracks from and/OAR releases and other 
releases by a/O artists, as well as play tracks from releases I sell on the "DIffusion" mail 
order page. Eventually, I might expand it to play other people's work that pertains to the 
focus of the label.
 
I looked at Shoutcast, but their program doesn't support Windoze XP yet. Does anyone 
have any suggestions, given what I just mentioned? I would like to be able to upload 
tracks onto a server and have it stream from there. And I would prefer month to month 
payment, since paying in advance for a year is too much, and I've got more than enough 
to tie my finances up as it is.
 
To not bother the groop further with this, you can reply offlist if you want.
Thanks very much in advance! 
 
Dale
 


Dale Lloyd: http://www.and-oar.org/dalelloyd.html
and/OAR: http://www.and-oar.org/
--Boundary_(ID_XaNx+cOzxZKd4tqCyBZ2Pg)--

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Subject: [microsound] Hobart ::: Cluster & Uber_Lingua present LINGO (charged &
 Dubbed)
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Cluster Collective and Uber_Lingua present

LINGO (charged & dubbed)

Over two nights: FRIDAY 17th and SATURDAY 18th September

Legendary Hobart crew the Cluster Collective, charged on diversity jump into
bed (metaphorically) with the Uber_Lingua crew to create one of the most
modern trans-cultural events to hit Tassie in a while...

Cluster are well known for their gigs that unify the various splinters of
the small but strong Hobart music scene. Cluster events have been known to
feature Punk Rock next to Electronic, Reggae, Hip-Hop and exotic Visuals...
Representing Cluster on the lineup is Gusto, an electronic music producer
who's also into Japanese mash-ups...

Uber_Lingua in an emerging entity that currently hosts a weekly club in the
inner city of Melbourne focussing on multi-lingual music and urban culture
from all over the world... "...there is so much Hip Hop, electronic music
and progressive folk and pop round now days in other languages, it
seemed obvious to tap it's potential and have some fun with it..." to quote
bP (Brendan Palmer) one of the resident DJs. Another uber-linguist is based
in Tassie; Moses 'sakamoiz' Iten... An expert on all things Swiss, Mexican,
Spanish speaking and German.

MashyP, a long time musical provocateur in the Sydney electronic music scene
and promoter of some of the most explosive underground events in Sydney in
the past decade, has taken a turn towards the bootleg mashup scene and
recently toured Qatar (near Saudi Arabia) getting a solid dose of Arabic
culture that, sure enough, filtered through into his music.

Direct from Sierra Leone, Alfred 'Creator' Caulker is a Hobart-based
bodybuilding rapper and performs in Mende, Creole, French and English. " I
start my singing career way back in Sierra Leone, in a district called
Bonthe... My sister used to say "if you want to take my food, you should
sing for me..." I believe that's the way my mouth's become so good on the
mic..."

Fulfilling the lineup are Nitriya (Indian Rhythms/Hobart), DJ Squimal
(Mexico), Joseph Barrows (Hobart VJ), Zin (Myanmar), misty pocket
(Hobart), terraphonics (installations)
           
Friday's event will feature a far more pumped selection of tracks... those
wanting to dance or at least be spun out should check it out... Saturday
takes on a more café-bar chilled atmosphere, with lots more room for slower
paced tracks, dubbed out-ness and exotica. "The whole of Tassie wants a
lesson in DUB..." according to Cluster DJ Gusto.

full details at http://www.uberlingua.com

Demos of all sorts can be posted to
Uber_Lingua PO Box 2613 Fitzroy 3065 Australia

LINGO events sponsored by Hobart's edgeradio99.3FM
http://www.edgeradio.org.au


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From ???@??? Tue Sep 14 05:33:59 2004
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From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] re: Hobart ::: Cluster & Uber_Lingua present LINGO
 (charged &        Dubbed)
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Umm err, Sorry forgot to mention the actual venues for these events, even
though they are on the site.

LINGO CHARGED 

FRIDAY  
September 17th 8pm until 2am
SIRENS 
6 Victoria St (at Macquarie St)
Hobart (Australia)

($6 door charge) 

&

LINGO (dubbed) 
SATURDAY September 18th 8pm until 2am
SUTTONS 
77 Salamanca Place 
Hobart  (Australia)

(gold coin donation)

http://www.uberlingua.com


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From ???@??? Tue Sep 14 05:40:41 2004
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Date: Tue, 14 Sep 2004 01:39:11 -0400
From: ndkent <xxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] re:[microsound] 'snow white' [was: sampling issues /
 motivations...]
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> disney didn't need to ask the brothers grimm for 'snow white'.
-I wonder if 'snow white' was asked anyway.
  Forced more likely..

Well Disney asked and gave Stravinsky a check for $6000 to get his 
blessing to use his composition  "Rite of Spring" in his 1939 movie 
"Fantasia" with the clear statement to Stravinsky's publishers that 
Disney understood the piece to be free of copyright and that they would 
use it regardless. Stravinsky was reportedly not at all and never was 
pleased Disney turned his tale of ancient Russia into a tale of 
rampaging dinosaurs. I believe Stravinsky's publishers within a few 
years submitted a sound alike but revised notation score for for U.S. 
copyright.

Throughout the 90s Stravinsky's publishers argued that the home video 
release of "Fantasia" was a new format release was not covered by the 
original agreement. The publishers lost and I believe Disney has had 
numerous variations stemming from the home video medium not being 
sufficiently different from theatrical showings to require a contract 
re-negotiation.

There's quite a bit on the web - just search on Disney, Stravinsky, 
copyright


nicholas d. kent
http://www.artskool.biz/jem/ndkent/


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the 'risk' of stealing is fun but it isn't the only
bar.  using found sounds, whether samples or field
recordings can be very much about tweaking them to
produce other sounds, that then can be apart of a
composition -> a kind of exploration or adventure. 
For instance (and this sounds childishly simple-dumb
but here it is) i was working with lion growls slowing
them erratically down and found that they became this
incredible sonic near-rumble that was both consistent 
and unpredictable.  It formed one part of a texture
among other sounds, in a piece. There was no big
'risk' with the copywrite lawyers in this act of
working with a sample, though I would argue that the
risk of simply wasting hours on nothing-at-all, has
its risks in this  barely-keep-your-head-above-waters
world.   I was just interested in what sounds could
become and then later in how they could come togethor
and be a a part of a thing.  This work in time is a
content.  i.e. the space of perception. Content isn't
all product or anti-product. It is also work. 


I think it is the tendency of computer generated music
to sometimes delve deeply into total wild frenzy
cacophony that risks being totally empty by becoming
too close to mere spectacle.  To me, it's the bar of
spectacle that empties 'content' into pure consumerist
illusion/madness/despair.

- andrew
 
>What's the point of 
>working from stolen samples if you process them
beyond >recognition and any 
>form of legal identification? Where's the risk in that?


                
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 FILETIME=[49C414A0:01C49A1E]

the next microsound project should be public domain.

http://www.unc.edu/~unclng/public-d.htm

like droplifting- but more extreme.

yes? no?

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Subject: [microsound] sampling/concepts/incidental music
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There's all kinds of gray areas with regards to field recordings and
things that are musical.  What about something that sounds like isn't
music but isn't inteded as music, like car horns in traffic, which have
a definite pitch, or a doorbell, or ringtones on a phone?  I think it
would be hard to make a field recording in an urban environment without
encountering any musical or pseudo-musical content.
This discussion reminded me of a collaborative project that I was
inspired to do this winter: during a vacation to New York City I used my
Archos Jukebox to record about a hundred hours of whatever I was doing,
which was mostly hanging out in bars with friends.  Then when I came
back to Chicago, I played a DJ set at a bar that was just field
recordings of recorded pop songs played by DJ's in other bars (half as a
joke, and half to see if it just sounded like being in the same bar,
with more drunk people talking loudly around you.)
The project that this inspired was to do a series of recordings of
people interacting with the music in their environment.  During that
vacation in New York, I was listening to "Loaded" by the Velvet
Underground and when the song "Rock and Roll" came on my friend jumped
into this long rambling stoned story about being really depressed and
hearing this song when she was 15 and realizing that, like the girl in
the song, "it was all right" and her life really was saved by rock and
roll, but in a weird recursive way, because she was a generation younger
than the guy who wrote the song, her life was saved by a song about a
girl whose life was saved by rock and roll.  I knew there must be
thousands of other girls who had a similar epiphany to this song and
wanted to record all of them doing this kind of play by play commentary
to the song.  Or any other song.  The idea being to try to get a bunch
of people to all interact somehow to their favorite song and record just
the interactions, and see what kinds of aggregate patterns they follow
when the recordings are played together with the original song not being
audible.  Chances are the outcome would be alot of silly jokes (20
different people singing the guitar riff to "Smells like Teen Spirit" or
"More than a Feeling") but I think that it could yeild some intersting
results.
This idea is alot more about anthropology than electronic music but I
think it might provide some insight and inspiraton to ways of thinking
about sampling and field recording.



bil bo wrote:

> A field recording could simply comprise of a microphone infront of a 
> speaker, playing a copywrited pop mp3 (or sine wave).
>
>
>> i think that field recordings are significantly different, content-wise,
>> from sine waves. i'd say that they're not that different from 'musical'
>> samples, in that they often evoke a kind of nostalgia, though from a
>> personal rather than a 'pop' context.
>>
>> >> Aren't field recordings as basic in content as a sinewave (or as
>> >> constructed)?
>
>
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From ???@??? Tue Sep 14 10:24:47 2004
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What about a track which only samples itself?  Alot of the music I've 
been writing for the past 2 years is based on recursive 
amplitude-triggered sampling.  I use Buzz for this (a program that's 
really not suited for this kind of generative music, but I like working 
with restrictions) - what I do is take a sound generator like a drum 
machine, play it into a sampler, then transpose or time-alter the sample 
and play it back through a gate which triggers sounds on the drum 
machine.  I think writing beat patterns is really tedious and this is a 
good way to generate complex beats and exercising high-level control 
over them by tweaking the amount of feedback between the gate and the 
sounds it's triggering, or filtering the stream of sounds before it goes 
to the sampler.
Some examples here:
http://www.erstwhile.net/audio/newagealarmclock/riseoverrun-New%20Age%20Alarm%20Clock--03-New%20Age%20Alarm%20Clock.mp3
(this one evolves slowly over 30 minutes)
I've also composed some computer music with no samples at all, using the 
built-in analog sound capabilities (the beeper and the FM music chip on 
old Soundblasters) of obsolescent PC's -
http://www.erstwhile.net/audio/index.php?pdir=blips
http://www.erstwhile.net/audio/index.php?pdir=1bit

I think people who compose music with computers tend to be more 
interested in high-level ordering of sounds and less interested in 
making sequences of individual notes, which can lead to people falling 
into the rut of "running a field recording through 4 pitch transposers 
and 12 delays" or "i'm going to play this loop 800 times through a 
filter and mess with the bandwidth."  What I don't like about most music 
software is that the whole patch and ensemble metaphor replicates a 
physical recording studio ("I patch my guitar into the delay pedal, then 
patch that in the equalizer"), which is fine if you want to record a 
band on your PC.  . Performing music with analog instruments is linear 
and temporal, (as is listening to any kind of music, though I'd love to 
be able to download a song into my brain as fast as I can download it 
onto my computer) but composition isn't slow listening or listening on 
paper (Charles Wourninen says alot about that in his book "Simple 
Composition").  I think computer based music is still stuck too much on 
an interface that replicates an analog process and  doesn't take 
advantage of what a computer is designed to do: non-linear, non temporal 
processing of data.   I need to look futher into that "generative music 
in perl" article.  I'd love to be able to have a macro language where I 
can tell a computer something like "take sound N, cut it into X 
segments, and play back all permutations of those segments, where the 
segment with the lowest frequency comes first." 

>
>But I'm really ranting specifically here about sample-based work, which I'm coming to despise in microsound. Is that all we can do? Can anyone on the list make a decent microsound track created from NO PRIOR RECORDED MATERIAL, their own or otherwise? I'm not talking about chopping up your field records and looping them through AudioMulch, or remixing your trash-folder of 2-sec recordings of your crashing hard-drive. Who's doing sample-less work? Or, on the other hand, who is doing risk-taking sample-based work that takes full advantage of the identity of its sources as a way to generate new meanings and recycle culture through the historical onflow of their manipulations?
>
>-=the pHarmanaut
>
>
>---- other's wrote ----
>
>i'm all about it.  there are lots of open source or virtually public 
>sound sources out there if you're clever.  also, i duly approve the use 
>of small enough snippets or overly processed bits that could near 
>impossibly be identified.
>-ryan dunn
>http://www.liscentric.com
>
>On Sep 12, 2004, at 2:36 PM, visa wrote:
>
>  
>
>>Hi,
>>there hasn't been any microsound projects in a while, has there? I was
>>thinking that it might be fun to do something related to the recent 
>>decision
>>by the us federal appeals court which ruled all uncleared sampling 
>>illegal:
>>http://news.bostonherald.com/national/view.bg?articleid=43259
>>
>>It would imo be interesting to do a project more or less subtly 
>>opposing
>>this ruling. Like for instance, doing tracks entirely from uncleared
>>samples, but processed unrecognizable...
>>
>>Is anyone interested in a project like this?
>>
>>~Visa
>>    
>>
>
>
>
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Subject: [microsound] the tool is the message
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> The point is, that microsound has mistakenly overvalued the language 
> of the tool (that is, Kim's "the tool is the message") and 
> process-based art.
Trace,
I never said that this would necessarily be a  _good_  thing...but it 
has come to pass, eh?
:)
KIM


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has anyone been able to get on the microsound hotline server lately? 
please try and let me know?
thanks!
KIM


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From ???@??? Tue Sep 14 15:16:38 2004
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>but it has come to pass, eh?
-Just like in real life...(?)

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 ???@??? Tue Sep 14 15:53:51 2004
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could any of you experiencing problems getting on the hotline server 
please let Ericv (the admin/host for the hotline server) know by 
dropping him an email?
xxxx@xxxxxxxxxxx.xxx
thanks!
KIM


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Date: Tue, 14 Sep 2004 17:52:10 +0200
From: Kassen <xxxxxx@xxxxxx.xxxx.xx>
Subject: Re: [microsound] Sampling (was projects)
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Ian Andrews;

> The word "sampling" seems to have more than one meaning. The original
> meaning, perhaps first coined by EMU or Fairlight for the first digital
> samplers (I don't believe that analogue samplers were actually called
> samplers at the time), was closer to recording (in general). It was
implied
> that to sample something was to record sound into the machine via a
> microphone.

In a old dutch text on techniques of signal manipulation if found "sampling"
translated as "monsteren" and a sample (both in the one byte and one
recording sense) as "monster". What I found interesting is that this dutch
word roughly means "scientiffic specimen", it´s identical in meaning to
"sample" in english in the context of "blood sample" or "soil sample".

This use of words, unsoiled by the change of meaning Ian comments on because
soon afterwards it became convention in dutch to borrow such words from
english, seems to concentrate on the sample originally being a part of a
bigger whole and of cource the implication is that it would also be
representative of the larger structure it originally belonged to. The manual
of my s612 cheerfully proclaims this is in fact the case.....

I´m not sure where that way of thinking leads, if anywhere, but I find it a
facinating way to look at it so I thought I´d share, perhaps it will lead
somebody else somewhere usefull.

Yours,
Kas.



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I just got this via spam and thought it was interesting enough to share 
it:
============================================
related to eggplant is nefarious.
cyprus mulch about salad dressing prays, and around blithe spirit beams 
with joy; however, philosopher for reactor share a shower with..
Charles, although somewhat soothed by snow for and sandwich near.
uracil anthropomorphic afterward calculus

Furthermore, around pickup truck hesitates, and omphalos inside 
rattlesnake learn a hard lesson from particle accelerator related to.
Any necromancer can take a peek at scythe related to microscope, but it 
takes a real paycheck to stalactite from fairy.
exacter rectilinear telepathy monoceros

=============================================

N+7 anyone?

KIM



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 FILETIME=[DA432700:01C49A7D]

http://news.bbc.co.uk/2/hi/technology/3656332.stm


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From ???@??? Tue Sep 14 16:36:11 2004
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Subject: [microsound] Re: affordable internet radio broadcasting?
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hi Dale,

if you aren't interested in setting up your own server [with Shoutcast 
or Icecast] then you will probably have to use a commercial provider. I 
played around with live365.com many years ago, and I just pulled up 
their rates to see [it used to be free with a low number of listeners]:

https://store.live365.com/orders/orderform.live

One problem with Live365 is that you are paying ASCAP, BMI and SESAC 
royalties on the music you play, even if it is all your own content or 
content from your label which you have rights to anyway.

For a full expose on the evils of this licensing system, check the next 
link. Jamie Zawinkski runs the live audio webstreams for the DNA Lounge 
in San Francisco, and I'd recommend anyone interested in web radio to 
check his article out:

http://www.dnalounge.com/backstage/webcasting.html

To use Shoutcast, you will have to have a server somewhere running it, 
and also a client which plays your clips and streams them to the server. 
These can be seperate machines, or you can have the music all played 
from the same machine which serves the streams to the listners.

I would recommend *not* using windoze XP on that machine [or windoze at 
all]! Also, I recommend taking a look at Icecast over Shoutcast, as 
Icecast is free, open source and also has a binary for the version of 
windoze you are using.

http://www.icecast.org/download.php

There are many clients which will stream to Icecast. Winamp, for 
example, has a Shoutcast plugin, and it may also support Icecast by now. 
But there are many others. I used a PD patch with a streaming object to 
run the webstream for soundscape-fm.net [which is unfortunately without 
a streaming server at this moment :-( ]

good luck,
d.


-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 184:
"Where is the edge?"

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 FILETIME=[53972D30:01C49A89]


when i think of sampling, i DO think of starting with a finished piece. 
whether it is an mp3 or a recording you made by attaching your md recorder 
to the headphone jack of your amp as you play some rare lps you found at a 
thrift store. the new piece starts when the artists starts working with mp3.
field recording however is part of the creation of the new piece because how 
the sounds are recorded is as important as the processing and composition.


>Sampling doesn't necessarily refer to a finished piece
>of work: as Trace implies, field recording is a form of sampling too. 
>You're
>just sampling nature. tV
>

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Date: Tue, 14 Sep 2004 21:22:03 +0200
From: Massimiliano Viel <xxxx@xxxxxxx.xx>
Subject: Re: [microsound] projects
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My situation, if I can contribute, is to start from a sample, a very 
long sample (even 40 min.) of radio signal.
I try to "correct" the sample as a sort of restoration, trying to 
save and take out the inherent musicality.
I do lots of work on a sample (it's actually better to use the word 
"recording", here), nevertheless, if you compare it with the original 
one you can easily find it, maybe covered by noise...
This is kind of between field recording (no mix at all among 
recordings) and creative use of samples to create new music... I like 
to think my work as (sober) painting on photos...

massimiliano

>when i think of sampling, i DO think of starting with a finished 
>piece. whether it is an mp3 or a recording you made by attaching 
>your md recorder to the headphone jack of your amp as you play some 
>rare lps you found at a thrift store. the new piece starts when the 
>artists starts working with mp3.
>field recording however is part of the creation of the new piece 
>because how the sounds are recorded is as important as the 
>processing and composition.
>
>>Sampling doesn't necessarily refer to a finished piece
>>of work: as Trace implies, field recording is a form of sampling too. You're
>>just sampling nature. tV


-- 
M  a  s  s  i  m  i  l  i  a  n  o                  V  i  e  l
http://www.maxviel.it
http://www.otolab.net/projects/sn/index.htm

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I think this a Max/MSP 4.5 challenge response ;)



--- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:

> I just got this via spam and thought it was
> interesting enough to share 
> it:
> ============================================
> related to eggplant is nefarious.
> cyprus mulch about salad dressing prays, and around
> blithe spirit beams 
> with joy; however, philosopher for reactor share a
> shower with..
> Charles, although somewhat soothed by snow for and
> sandwich near.
> uracil anthropomorphic afterward calculus
> 
> Furthermore, around pickup truck hesitates, and
> omphalos inside 
> rattlesnake learn a hard lesson from particle
> accelerator related to.
> Any necromancer can take a peek at scythe related to
> microscope, but it 
> takes a real paycheck to stalactite from fairy.
> exacter rectilinear telepathy monoceros
> 
> =============================================
> 
> N+7 anyone?
> 
> KIM
> 
> 
> 
>
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> 
> 


                
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From ???@??? Tue Sep 14 20:54:05 2004
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> A field recording could simply comprise of a microphone infront of a
> speaker, playing a copywrited pop mp3 (or sine wave).

oh come on ....!
ok sure...but that's pushing the semantics a bit far...kind of like calling
a thrown rock an airplane.


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From ???@??? Tue Sep 14 20:54:20 2004
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I got the following chunk of text in some spam, and if you read it through to the end, it acknowledges itself as a poem!  white spectra tuition wicket!!!

==============================================================

contrabass tyson cask distillate speed corkscrew halstead windward bronchitis blest acceptor progression whack embellish ablution claude blanc alcohol prostheses transfix bordeaux indecomposable subjunctive mold adjust announce homology stuffy pope sir shamrock abernathy g temporary  dicta armenian sped airmail puddingstone conservatism descriptive chronograph clutter reverie infra bare flinty meetinghouse ferdinand sweater barge white spectra tuition wicket bodybuilding conferee spell baggage chub refrain sweatshirt aggrieve claustrophobia crappie insatiable acknowledgeable brassy poem

==============================================================

---------- Original Message -------------
Subject: Re: [microsound] oulipo spam?
Date: Tue, 14 Sep 2004 13:16:32 -0700 (PDT)
From: Patrick O'Rourke <xxxxxxx@xxxxx.xxx>
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>



I think this a Max/MSP 4.5 challenge response ;)



--- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:

> I just got this via spam and thought it was
> interesting enough to share 
> it:
> ============================================
> related to eggplant is nefarious.
> cyprus mulch about salad dressing prays, and around
> blithe spirit beams 
> with joy; however, philosopher for reactor share a
> shower with..
> Charles, although somewhat soothed by snow for and
> sandwich near.
> uracil anthropomorphic afterward calculus
> 
> Furthermore, around pickup truck hesitates, and
> omphalos inside 
> rattlesnake learn a hard lesson from particle
> accelerator related to.
> Any necromancer can take a peek at scythe related to
> microscope, but it 
> takes a real paycheck to stalactite from fairy.
> exacter rectilinear telepathy monoceros
> 
> =============================================
> 
> N+7 anyone?
> 
> KIM
> 
> 
> 
>
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> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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> website: http://www.microsound.org
> 
> 


                
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On Sep 13, 2004, at 2:52 PM, Josh Ronsen wrote:

> I have decided to go OSX only on my G4 PB 500MHz. What
> sound apps do you find to be indespensible?

None really. I can dispense with them all and make sound with rocks, or 
should the occasion call for it, microsound with pebbles.

- John Nowak


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On Sep 13, 2004, at 2:10 PM, Trace E. Reddell wrote:

> All of this strikes me as less than inspiring. What's the point of 
> working from stolen samples if you process them beyond recognition and 
> any form of legal identification? Where's the risk in that? Where's 
> the challenge or the protest or the resistance? And what's the point 
> of such an aesthetic? Such an approach merely renders ALL sources 
> equally meaningless because you process them the same way. In such a 
> case, even if you write out your trail of samples and sources, you may 
> as well be working from a copyrighted recording of the Beatles playing 
> "Hey, Bulldog" as from your own field recording of dog farts.
>
> Plunderphonics, mash-ups, and the new Negativland projects (check out 
> "The Mashin' of the Christ" and "No Business" both at 
> http://www.negativland.com) deal with the risk and pleasure of 
> stealing and screwing up other people's stuff ... but the joke is that 
> some of the pieces, and maybe all of them, are ultimately 
> recognizable.  Otherwise, the irony is completely diffused, and the 
> work is deprived of any cultural relevance.

Agreed, agreed, agreed. In my work, you can hear the Britney, you can 
hear the MC hammer. Process within recognition, or do not process at 
all -- 'Lest your art be merely processed "process art"!

- John Nowak


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From ???@??? Tue Sep 14 22:33:17 2004
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On Sep 13, 2004, at 4:24 PM, visa wrote:

> Good points, and I agree with many of them. Interesting discussion.
>
> Yes, I too fell that the processing-snippets-unrecognizable -method is
> starting to feel more and more trite. Perhaps a more inspiring starting
> point for a project would be to create a track only from unlicensed 
> samples
> and apply no other processing to them than cutting/rearranging. How 
> does
> this sound to you?

'Tis been done my friend!
http://johnnowak.com

- John


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On Sep 13, 2004, at 3:21 PM, tobias c. van Veen wrote:

> It's not very obvious at all. I mean at the level of the concept. 
> Somebody
> diesnged that architecture, created that sine wave. Aren't you sampling
> that?

I can respond to this with the utmost of self-assurance and sincerity: 
No!  ;-)
Using someone else's program to synthesize sound is not sampling. It's 
synthesis.

- John Nowak


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 FILETIME=[87B77990:01C49AAB]

>None really. I can dispense with them all and make sound with rocks,
>or should the occasion call for it, microsound with pebbles.

Actually this is a very good line of thinking... for some example, you might 
look into the work of Jeph Jerman or Lorren Chasse, (I am sure there are 
many more), sound with rocks is basically what they are doing, of which I 
would say, falls into the zone of microsound, who says it all has to be 
strictly digital?

-Scott Allison

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