Re: [microsound] ebm definition

From CineMark13
Sent Sun, Oct 10th 2004, 23:39

electronic body music, supposedly coined by Leather Strip's Claus Larsen.

kristof lauwers wrote:

>
>> Anthony Saunders <xxxxxxx@xxxxxxxxxxx.xxx> wrote:
>> Exactly. There is a healthy overlap between noise, industrial, ebm,
>> idm, power electronics, microsound, ambient, jungle, gabber, synthpop,
>> and death metal, but it's rare than anyone likes all of those genres.
>
>
> what's ebm? (apart from evidence based medicine)
>
>
> k.
>
>
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From ???@??? Fri Oct  1 05:33:58 2004
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Date: Fri, 01 Oct 2004 01:29:47 -0400
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Subject: Re: [microsound] Dr. Max Matthews (was our first .microsound poll )
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>
>
> In an off comment though, the debate tonite kicked Bush ass!
>
> Yours,
> K
>

Really? I thought Bush came across as humane while
Kerry came across cold and stern and failed to really
show any points remarkably different than Bush's own policies.
On The Daily Show Giuliani said Kerry lectured to the nation.
Wesley Clark seemed cool though =)


Andrew Jones
912 Euclid Ave.
Birmingham, AL, 35213
407-927-7607
aim: liminal18


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From ???@??? Fri Oct  1 05:38:19 2004
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Date: Thu, 30 Sep 2004 22:38:10 -0700 (PDT)
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Subject: Re: [microsound] chicago and time based media
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Hey Jeff,

I just moved to Chicago and also trying to carve a
little nook for myself here.  I graduated with a
visual arts degree in Kansas City, but I mainly do
audio work now.  I do Some abstract programing,
hacking chips, and using software, FLStudio,
SoundForge, PD, MSP, whatever I can get my hands on. 
I do some visuals with Gem which is the 3D render
engine using PD.  This is a good program if you want
to do live improv video as it utilizes the open
architecture of object oriented programing, but the
tools can be pretty remedial at first.  might be your
style though.  It kind of caters to abstract minimal
geometry well. You should e-mail me back if you have
more specific questions, or if you know of any good
performances, or are performing somewhere or something
blah blah.

later,
Bradon 



--- Jeffrey Matz <xxxxxx_xx@xxx.xxx> wrote:

> hey all, i'm looking for some chi-town artists,
> possibly for collabs or just
> disscussions...especially if you're into mixing
> micro elements with more organic textures...
> 
> i'm also looking for some software suggestions as
> far as mixing video... anybody doing their own
> visuals?
> 



                
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On Oct 1, 2004, at 1:29 AM, andrew jones wrote:

>> In an off comment though, the debate tonite kicked Bush ass!
>
> Really? I thought Bush came across as humane while
> Kerry came across cold and stern and failed to really
> show any points remarkably different than Bush's own policies.

I agree completely. Of course the reason Kerry's policies didn't seem 
much different is because they aren't. They're both pro-war, 
pro-patriot act, pro-WTO, pro-NAFTA, etc etc etc. All Kerry is 
basically saying is, "I'd of gone to war, but I'd of kicked more ass."

> Wesley Clark seemed cool though =)

Wesley Clark is a war criminal, and should be tried in an international 
court.

- John


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From ???@??? Fri Oct  1 18:04:54 2004
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>
>> Wesley Clark seemed cool though =)
>
> Wesley Clark is a war criminal, and should be tried in an 
> international court.
>
> - John
>
>

Good thing Bush is keeping us out of that international court then =)
What did Clark do anyway? All these guys have various splotches on 
their pasts.

Peace,
A


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From ???@??? Fri Oct  1 06:53:33 2004
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on 9/30/04 2:49 PM, Arie van Schutterhoef at xxxxxx@xxxxxx.xx wrote:

>> Cage was just a faggot folk hero
> -In regard to to the question put forward,
> I wonder what importance can be attached to
> his sexual inclination.

 -don't know. I see it as a form of socializing in order to win favours.
Music was one tool in an arsenal of tricks.He was someone who was good at
provoking envy by playing the role of the adventurer , the free man, one who
showed the promise and the road to freedom.

  Although some of his work is very good , thought provoking etc. , to me
most of it doesn't really function without the essays , the explanation.
 
  This is different than something which might suddenly sound , completely
out of context , and function, be understood.

 He wasn't bad, and he might agree with me that he was someone capable of
refreshing my memory in a rudimentary way about what I already know.


>> Xenakis a shell-shocked architect who liked to make lots of noise.
> -And noise is regarded as an important part of sound.
> He was also quite important in defining the usage
> of granular synthesis.

Yes.

 Once again I don't see him as being worthless. Through his work he appears
to me in the form of someone who connects to the sound environment in the
manner of an architect. There is no crime in that , and I don't see him as a
lesser being in that respect. I understand music to be the great art form ,
having its own manner of creating space , buildings , architecture.

 Even if I accept the definition of music as applied mathematics , there is
an intrinsic manner of applying those numbers to sound production. It seems
to be a gift some people find at an early age. Granted , it might be buried
in almost everyone , even if they don't consider themselves musicians. With
Xenakis although his mathematics may be complex and far reaching in a
non-musical sense , I am more interested in what is purely musical (since
the survey is about musical influence) which is something closer to a direct
or immediate expression of emotion through numbers manifested in sound.
> 
 
>>Stockhausen is a real man, the kind who can rewind a tape recorder and
>>still think clearly .
>-As long as it concerns himself...
> He still thinks that hte Beatles are 'a modern popband'...

AvS

 Interesting that you mention Stockhausen with the Beatles.

 I remember listening to 'Hymnen' and also 'Sargeant Pepper's Lonely Hearts
Club Band' . Parts of both albums having strong effects on animals (cats
mostly) ; scrambling up the walls for instance, where every other record
didn't seem to make much of an impression.

 Anyway , I hope you're having a good day , or whatever you're having .



                   
                              Bill


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From ???@??? Fri Oct  1 07:36:28 2004
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Date: Fri, 01 Oct 2004 03:40:21 -0400
From: ben owen <xxxx@xxxxxxxxxx.xxx>
Subject: [microsound] [ot]Re: [microsound] Dr. Max Matthews (was our first
 .microsound        poll )
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Well, kerry spoke with content, sited significant historical happenings, and
even a quote from bush sr.'s book - bush spoke out of turn, replied with
agitation, and repeated lines like " we're working hard "  and closed to say
" we've climbed the mountain and now we are looking into the valley of peace
" - 
  
Glad people listened in -

B 
  

"andrew jones"  wrote:

>> 
>> 
>> In an off comment though, the debate tonite kicked Bush ass!
>> 
>> Yours,
>> K
>> 
> 
> Really? I thought Bush came across as humane while
> Kerry came across cold and stern and failed to really
> show any points remarkably different than Bush's own policies.
> On The Daily Show Giuliani said Kerry lectured to the nation.
> Wesley Clark seemed cool though =)
> 
> 
> Andrew Jones
> 912 Euclid Ave.
> Birmingham, AL, 35213
> 407-927-7607
> aim: liminal18
> 
> 


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From ???@??? Fri Oct  1 05:23:14 2004
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Subject: Re: [microsound] Dr. Max Matthews (was our first .microsound poll )
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In addition to Bell Lab's impact on electronic sound innovations, they 
also own Lucent Technologies, which is interesting considering the 
prominence of cell phones and their ring tones holding both social and 
"compositional" qualities.

Cage's expressed excitement in the limitless possibilities of sound 
when borrowed from environment is appealing. When referred to as "stock 
sound", I think of Corbis... boring ol' search engine of images that 
are passe, not exciting. Perhaps this is why only a handful of shows I 
have seen lately have sparked something personally... There is a 
passive quality of something similar, some fashion that is being 
utilized instead of exploring new terrain. Plus, Cage had a light 
hearted wit that provided a playfulness that is divine.

In an off comment though, the debate tonite kicked Bush ass!

Yours,
K




While Cage
On Sep 30, 2004, at 4:50 PM, ian stewart wrote:

>
>> I guess for me the impact Cage had, aside from the whole silence 
>> thing... was his idea that uisng stock sound, much like stock 
>> photographry and using tape based recording and editing techology, 
>> one could create compsitons without instruments or musicians in a 
>> non-liner fashion
>
> Schaeffer was there first with his Etudes de Bruits in '48. Cage met 
> up with Schaeffer in Paris in '49, but I don't think he used any 
> recorded sounds to make a piece until 1952 (although he had used 
> phonograph test tones on varispeed turntables in the 1939 Imaginary 
> Landscape no. 1). The German filmmaker Walter Ruttman made a sound 
> collage to a film strip in 1930 (Weekend) made up of the sounds of 
> Berlin, but that appears to have been an isolated thing.
>
> best,
> Ian
>
> _________________________________________________________________
> Express yourself with cool new emoticons 
> http://www.msn.co.uk/specials/myemo
>
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 .microsound poll )
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On Fri, 01 Oct 2004 03:40:21 -0400, ben owen <xxxx@xxxxxxxxxx.xxx> wrote:
> Well, kerry spoke with content, sited significant historical happenings, and
> even a quote from bush sr.'s book - bush spoke out of turn, replied with
> agitation, and repeated lines like " we're working hard "  and closed to say
> " we've climbed the mountain and now we are looking into the valley of peace


http://www.truthout.org/docs_04/100204Z.shtml

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From ???@??? Fri Oct  1 09:46:19 2004
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Date: Fri, 01 Oct 2004 10:48:20 +0100
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 FILETIME=[885DE1C0:01C4A79B]

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

.........
02.10.04
Si_COMM & S.E.T.I.: [as] HYPERLANGUAGE

A sound environment specially commissioned by Ben Green for transmission 
on Resonance 104.4 FM. Copyright 2004.

Project OVERVIEW: This recording is a commissioned piece designed to 
thematically relate to the PROBE CD released by VIVO of Poland 
(www.vivo.pl) in April 2004. After being approached by Ben Green to 
record a new work, we decided to construct a piece which would 
compliment these recently released recordings, and further elaborate on 
some of the themes set down in the sleeve notes for PROBE.


PROBE examines the notion of an impending new species of Posthuman 
beings. These bio-technological entities from our deep future, will bear 
only the merest trace of their human origins, and will no doubt greatly 
exceed what we currently understand to be the limits of human 
performance and intelligence. Far from being a sci-fi fantasists’ dream 
of transcendence, these theories hint at a very real possibility for the 
future of mankind.

Given that language appears to evolve alongside the great leaps of human 
cognition and intuition, how might the language of these Posthumans be 
constructed? What will language become?

Language is both a system of communication and an information processing 
tool. The roots of human language appear to have emerged during a period 
of information overload. The existing communicative methods of primitive 
“proto-languages”, a series of semi-coherent vocalisations, 
social/emotional interaction, and pre-verbal physical gesture used by 
early Man were “overwritten” in response to an overload, or chaos that 
arises when the informatic capacity of this previous set of languages 
could no longer cope, or had reached a new level of complexity. Given 
that hominids continually acquired new skills, for example- tool making; 
their lives increased in complexity. The early hominid mind could no 
longer cope with the richness of it’s life solely on the basis of its 
perceptual continuum, and language began to take a whole new 
evolutionary leap. In relation to the human brain, evolution on a 
biological level has reached its peak ( the head of an infant could only 
become so big in order to pass through the hips of its mother, and to 
retain the capacity for mobility – a vital factor for survival) , and 
after all of the physical mechanisms for increasing intelligence are 
exhausted, nature has conspired to increase human intelligence by using 
a technological, rather than biological strategem.

We are currently poised on the brink of ever more rapid transitions in 
technology, and our interaction with it. The human communications 
landscape is exponentially increasing in volume, speed and capacity, as 
we strive to reach out into the Universe, and connect with each other in 
more complex, accelerated ways. To an extent, for the first time, it is 
We who are being transformed by our technology, and not vice-versa.

As we speak, successive generations of young children are being thrust 
into the fast lane of cutting edge communications technology by their 
rapid (and somewhat remote) interactions with mobile phones (and the new 
accelerated language of “texting”). The mass usage of Computer games, 
and Personal Computers (particularly the World Wide Web), have led to 
the common utilisation of ever more complex and abbreviated 
terminologies. The internet in particular is a breeding ground for new 
language, as knowledge and ideas are transmitted globally at high speed. 
The Net has its own unique semantics, particularly, hypertext and 
hyperlinks, which we see as the foundation of a HYPERLANGUAGE – a 
revolutionary new spoken (if such a term will exist) mode of 
communication for the deep future. The recording project – 
HYPERLANGUAGE, is an artistic speculation - an analysis of our potential 
relationship with highly advanced communications technology in the deep 
future.

Given that tool-making generated a major shift in thinking that led to 
the foundations of spoken language – it should come as no great surprise 
that new technologies and cognitive structures (the evolution of the 
mind), should seed the development of a new kind of universal language – 
a non- verbal HYPERLANGUAGE that is communicated at vast speed and 
capacity through rapid transmission systems that will greatly exceed 
anything we could possibly imagine at present. What we present here is 
an imaginary switch point at some futuristic information exchange, 
inhabited by fragments of human vocalisations, hybrids of what we 
currently understand as language, fused with digital information, and 
all of the inherent noise that accumulates in an overloaded system.

The evolution of a new form of language, its trajectories and impact 
from a psychological, developmental, emotional, and educational 
perspective are deeply interesting to us. Please submit comments and 
feedback to the Lagowski blog:

www.lagowski.com
www.ecm323.co.uk
www.vivo.pl

Si_COMM updates at the blog: http://sicomm.blogspot.com
.........
09.10.04
Dale Lloyd: one hour as air pressure variations from a doorway/one hour 
as volatile & fixed principles

air pressure variations from a doorway:
I recorded two performances of air pressure manipulations using only a 
wooden door to maniplulate the tones. Very slight movements were 
required to capture some of the subtle nuances and overtones. The 
recordings themselves are not manipulated or processed. Aside from the 
air pressure tones themselves, there are also incidental sounds which 
come from the hallway outside the door, from a room upstairs, from a 
nearby refrigerator in very close proximity, and on the second recording 
of the two, I had mailing tape holding the door lock open, which was 
gradually coming unstuck, that made occasional high click sounds. On the 
first of the two recordings, I used duct tape, hence the lack of such 
sounds.


volatile and fixed principles (excerpt):
This is a segment from an upcoming release with the leeraum collective 
in Switzerland. The entire work was created using various kinds of metal 
objects, environmental recordings, and electronic sound sources.

http://www.and-oar.org/dalelloyd.html
http://www.leerraum.ch
.........
16.10.04
[no show]

.........
23.10.04
anték vvon cunt: one hour as fürv

O que e um prato nacional?

Pergunto-me e responda pela voz de Fialho de Almeida: <<Uma composicao 
culinaria rebele a escrita dos manuais, caracteristica, inconfudivel. 
(...) Transmite-se por tradicao; os estrangeiros nao sabem 
confecciona-lo, mesmo naturalizados; tendo chegado ate nos por processos 
lentos, e contrapovras de bilioes de experimentadores, sucessivamente 
interessados em fixar na sua forma irrepreensivel, resulta ser ele 
sempre uma coisa eminemtemente sapida e sadia. (...) 0 prata nacional e, 
como o romanceiro nacional, um produto de genio colectivo: ninguem o 
inventou e inventaram-no todos.>>
(in Jose Quiterio, Livro de Bem Comer)

http://66.225.223.75/furv/
.........

....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 ???@??? Fri Oct  1 10:17:52 2004
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Bill;

>  Stockhausen is a real man, the kind who can rewind a tape recorder and
> still think clearly .

What do you mean "still"? I think there are great benefits in the
compositional process to rewinding taperecorders. There will be no sound for
a minute or so while it rewinds and you get to calmly think things over
before the sound starts again. When working with the big ones (2" 16 track)
you get to doubt wether you hit "rtz" as you should´ve or wether you just
hit rewind. If you hit "rtz" it´ll slow down at the last possible moment
then gently stop at "0", if you hit rewind then the big motor will pull the
tape loose from the reel and stuff might fly around the room. The elders of
the tribe have scars on their thumbs from such occasions and you don´t want
those so you keep a respectfull distance.

It´s a break from the process that unlike coffee or cigs forces a quiet
period and unless you try to grab the reel it´s less damaging to your health
too.

I like it.
Let´s hear it for the zen-like qualities of rewinding taperecorders, the
oldschool equivalent of hitting "render".

So there.

Kas.



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In a message dated 30/9/04 8:01:36 pm, xxxx@xxxxxxxxx.xxx writes:

>Max Matthews is da man.
I wholeheartedly concur.
But what about Risset (as someone else has pointed out), and if we are to 
include Cage, then what about Varese? What about Messian?
Eno and Autechre ...come on! Influential they may well be (and I am a big fan 
of them both) But surely influenced by others themselves..where are those 
others?
Electronic music in film is a poorly recognized factor here (and one that 
precedes both eno and autechre in terms of popular culture)...what about the 
Barrons (Forbidden Planet)?
Nice that we are having a good natured dialogue though.
Regards
rob

::_______________________________________::

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On Fri, 1 Oct 2004 02:22:20 -0400, John Nowak <xxxx@xxxxxxxxx.xxx> wrote:
> 
> On Oct 1, 2004, at 1:29 AM, andrew jones wrote:
> 
> >> In an off comment though, the debate tonite kicked Bush ass!
> >
> > Really? I thought Bush came across as humane while
> > Kerry came across cold and stern and failed to really
> > show any points remarkably different than Bush's own policies.

He isn't "remarkably" different.  He really can't be since anything
sold to the American voter is going to have to be couched under the
unquestionability of the "war on terror."  But if Bush appeared
"humane" it was only because Kerry was pretty well slaughtering him on
just about any factual point regarding the war in Iraq.  If Kerry
appeared "cold and stern," it was because of the somber reality of
that war, which is an issue he appears finally willing to address.

 
> I agree completely. Of course the reason Kerry's policies didn't seem
> much different is because they aren't. They're both pro-war,
> pro-patriot act, pro-WTO, pro-NAFTA, etc etc etc. All Kerry is
> basically saying is, "I'd of gone to war, but I'd of kicked more ass."

Basically right.  But Kerry's position is really that he wants his
imperialism to be more multilateral so that the US doesn't have to
bear all the cost--bigger, better coalitions, in other words.

 
> > Wesley Clark seemed cool though =)
> 
> Wesley Clark is a war criminal, and should be tried in an international
> court.

I'd throw Bush in one too.

Any cool Microsound music engaging the current politics these days, or
are we still deluding ourselves (self-servingly, of course) into
thinking that the two are separate spheres?  What's Beta Bodega up to
or what happened to Ultra Red?  I'd like to be giving more of my music
budget to musicians who are tackling more than just music.

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this just in, 

Judge Rules Against Patriot Act Provision

U.S. District Judge Victor Marreo ruled in favor of
the American Civil Liberties Union, which challenged
the power the FBI has to demand confidential financial
records from companies as part of terrorism
investigations.

http://abcnews.go.com/wire/US/reuters20040929_295.html

and this, Sony ditches copy-control CDs

http://www.engadget.com/entry/3586262161659249/

Enjoy,
PoM:A



                
_______________________________
Do you Yahoo!?
Declare Yourself - Register online to vote today!
http://vote.yahoo.com

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From ???@??? Fri Oct  1 14:30:40 2004
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Date: Fri, 01 Oct 2004 16:30:44 +0200
From: ale*** <xxxx@xxxxxxxxxxxxxx.xxx>
Subject: [microsound] p2p
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I would like to share some audio works of mine on the edonkey and overnet
p2p networks, I've already encoded the tracks, prepared the playlists etc...
Unfortunately, at the present time I'm still on a dialup connection, no adsl
here yet. I was wondering if somebody on the list have a box connected to
the edonkey network 24/7, I'd love to send him/her a couple of cdrs. Feel
free to reply offlist.
Thanks,

ale***



---
http://www.pachinkostudio.com/


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From ???@??? Fri Oct  1 15:11:59 2004
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Date: Fri, 01 Oct 2004 18:06:20 +0300
From: k o t r a <xxxxx@xxx.xxx>
Subject: [microsound] [advertisement] Zeromoon sale - Alexei Borisov,
 Francisco Lopez, Kim Cascone, Scanner, Radian, Freiband ...
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hi friends

i thought it would be interesting for some of you.

===================================

Sale on Zeromoon records
http://www.zeromoon.com

We are having a sale: ALL CDs are $6.00, 5" cdrs are $5.00 each. 

Exciting releases by Normal Music, Andrey Kiritchenko, Ultra Milkmaids, Kotra, Alexei Borisov, Anton Nikkila, Violet, and compilations with Francisco Lopez, Kim Cascone, Scanner, Radian, Maja Ratkje, Jacob Kirkegaard, Dead
Letters, Rechord, Freiband and many more.

Check out the catalogue for info.

http://www.zeromoon.com

========================================


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

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From ???@??? Fri Oct  1 15:32:19 2004
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Date: Fri, 01 Oct 2004 08:27:29 -0700
From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Dr. Max Matthews (was our first .microsound poll )
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At 11:50 PM +0000 9/30/04, ian stewart wrote:

>Cage met up with Schaeffer in Paris in '49, but I don't think he 
>used any recorded sounds to make a piece until 1952

Williams Mix was created during 1952-53. Many of the sound sources 
were taken from sound effects records. The structure and process of 
the composition were based on chance operations. It was an eight 
channel piece, initially with eight mono tapes played on eight 
separate tape decks. Many of the source materials were manipulated 
according to basic musique concrete procedures, though most seem to 
be unaltered. The primary technical procedure in composing the tapes 
was splicing. Amplitude envelopes were created by using various 
lengths of diagonal splices. Many of the sound segments were quite 
short, so that some passages are certainly "micro" in their sonic 
structure.
-- 

______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://RZCybernetics.com

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From ???@??? Fri Oct  1 15:53:27 2004
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Subject: [microsound] just an FYI
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hey micro people

It just occured to me to share a small resource 
that came out of the Overgaden Sound Art Festival 
that I co-curated with my friend Björn Ross in 
Copenhagen, Denmark during August.  We included 
work from around 100 artists, some who are on the 
micro list, with some great live performances 
from about 30 acts.  Following is a link to a 
directory of participants, and it's a good 
jumping-off point to explore their sites -- with 
the good possibility of finding something 
inspiring...

http://soundartfestival.dk/artists.html

The festival was a good success, and there are 
tentative plans to run it again next year or the 
year after.  Although there was little 
print-media coverage, Danish radio made several 
programs and there was always a nice crowd for 
events...

enjoy!

cheers
John
-- 
-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
tech-no-mad::hypnostatic:: Akureyri, Iceland for a few eons
domain: http://neoscenes.net
travelog: http://neoscenes.net/travelog/weblog.php
NEW EMAIL: <xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Fri Oct  1 16:25:08 2004
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OK so the hotline server now seems to be behaving and I found a client 
for MacOS X that allows me to do admin stuff (ala the Hotline client by 
BigRedH)...
- here is my schedule:
- I'm gone as of tomorrow for 1 week and don't know what sort of access 
to the internet I'll have so...
- I'll be back in SF on the 9th and will be home for one week
        - I can assign passwords to those who want them at that point
- then on the 18th I'm back in the EU for 4 weeks and will have 
reliable internet access for the first couple of weeks
-- in summary: if you want a password it's best to email me next week 
and request one...
email me OFF LIST if you want one!!!!


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From ???@??? Fri Oct  1 17:37:42 2004
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Date: Fri, 01 Oct 2004 19:38:09 +0200
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: [microsound] netaudio notstandskomitee on sunday
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notstandsnacht at radio2b.org, a streaming webradio.
starting on sunday, 3.october at 19:00 cest
with live set
20:00 cest
13 years of Notstandskomitee, music from rare tapes and cds
all inclusive industrial, electronica and powerelectronics
till open end

http://www.radio2b.org
http://www.radio2b.org:8000/listen.pls


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From ???@??? Fri Oct  1 17:48:51 2004
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Date: Fri, 01 Oct 2004 19:48:30 +0200
From: Ignaz Schick <xxxxx_xxxxx@xxx.xxx>
Subject: [microsound] Staalplaat Store
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--Boundary_(ID_WjSbTqX7vLriCDe86shYXw)
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

The Staalplaat Store is finally open,

Staalplaat
Torstr. 72
D-10119 Berlin
U2 Rosa Luxemburgplatz

Opening Hours
Thuesday until Saturday,
14:00-19:00

http://www.staalplaat.com

You don't have to call it music if the term shocks you
--Boundary_(ID_WjSbTqX7vLriCDe86shYXw)--

From ???@??? Fri Oct  1 18:23:44 2004
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Date: Fri, 01 Oct 2004 14:20:07 -0400
From: andrew jones <xxxxxxxxx@xxx.xxx>
Subject: Re: [microsound] [ot]Re: [microsound] Dr. Max Matthews (was our first
 .microsound        poll )
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Hey,

It's not his fault he lacks the gene for public speaking =)

Peace,
A


On Oct 1, 2004, at 3:40 AM, ben owen wrote:

> Well, kerry spoke with content, sited significant historical 
> happenings, and
> even a quote from bush sr.'s book - bush spoke out of turn, replied 
> with
> agitation, and repeated lines like " we're working hard "  and closed 
> to say
> " we've climbed the mountain and now we are looking into the valley of 
> peace
> " -
>
> Glad people listened in -
>
> B


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 FILETIME=[EB333E90:01C4A7E5]

I bet Bush is keeping us out of international court because he knows he 
would be tried for unlawfully invading Iraq.

Scott

>Good thing Bush is keeping us out of that international court then
>=)

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Subject: [microsound] Fwd: Urban Noise Panel at Hunter NYC
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See you all there!


====== Forwarded Message ======
Date: 9/30/04 11:57 AM
Received: 9/30/04 11:57 AM -0400

Hello,

I'm moderating this panel at Hunter. Looks like we have a fantastic
group; anyone interested in the cultural history of noise and sound,
sound's policy and ecology implications, and sound art or
noise-influenced music will definitely want to attend! We also welcome
faculty and students to participate in the acoustic ecology group now
meeting monthly at Hunter to examine these issues.

Best,

Peter Kirn

URBAN NOISE / a discussion on noise, sound, music & the urban experience
Wednesday, October 6, 2004
Lang Recital Hall at Hunter College

6:00 PM: Opening remarks and listening
6:30 PM: Panel, followed by audience Q&A

http://fm.hunter.cuny.edu/nysae 

Five panelists share and debate diverse viewpoints on the situation of
noise, not-noise, environmental sound and the sonic arts as they exist
in the contemporary urban environment. Panelists will discuss a range
of topics, including NYC's recent revisions to the noise code, Acoustic
Ecology as an emerging global movement, sound's role in defining urban
culture and the design of acoustic space in city environments.
Moderated by Hunter College Music Department faculty member Peter Kirn.
Introductory remarks by Andrea Polli and Michelle Nagai.


PANELISTS INCLUDE:
Nigel Frayne: Sound Designer, President World Forum for Acoustic Ecology

Dr. Arline Bronzaft, PhD.: Consultant, Researcher & Chairperson, Mayor's
Council on the Environment, Noise Committee

Grey Filastine: Producer, Sonarchist & Member of the Infernal Noise
Brigade

Phillip Baldwin: Cultural Historian, Designer & Scenographer, SUNY
Stonybrook

Steven Miller: Composer & Educator, the American Society for Acoustic
Ecology 

Sponsored by the NY Society for Acoustic Ecology and the Film & Media
Department of Hunter College.

DIRECTIONS:

The Lang Recital Hall is located on the fourth floor of Hunter North,
695 Park Avenue. Entrance to Hunter North is on 68th Street, between
Lexington and Park Avenues. 

By Subway
The #6 train stops directly under the College at the 68th Street Stop.

Room 430, Fourth Floor Hunter North Enter the North Building at the
68th street entrance (between Park and Lexington Avenues). Take the
elevators to the fourth floor. Make a left to the double doors. Make a
right and then another left. Room 430 is straight ahead.

====== End Forwarded Message ======
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From ???@??? Fri Oct  1 18:50:29 2004
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From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [OT] Anyone read modern Greek?
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Hi:

For an essay I'm working on about Iannis Xenakis, anyone interested in
doing a small amount of Greek translation (although probably not Xenakis
himself)?

I'd be happy to compensate, but as an impoverished graduate student, I
can't offer what the United Nations does in terms of payscale.

If you're in Athens, that would be extremely valuable.

Reply off-list, thanks.

Best,

Tad Turner


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From ???@??? Sat Oct  2 01:43:00 2004
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From: Matt Davignon <xxxxxxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Seeking musicians: San Francisco Found Objects Festival
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Hey everyone, 

I'm putting together the 3rd Annual San Francisco
Found Objects Festival, and am looking for 2 or 3 more
musicians to create music using only sounds from
household objects submitted by the audience. If you're
interested, please read the info below.

General: 
The dates are Thursday and Friday, November 4th and
5th in San Francisco. Venues are the Luggage Store
Gallery (thursday) and 964 Natoma (friday). Set time
is 20 minutes per performer/group. (That'll make more
sense when you read the rest.) There's no payment
guarantee or anything. Artists will get an even share
of the door after the venue takes its fee. 

The challenge: 
All the sounds used in your set must be generated from
an object that was submitted by an audience member.
Musicians are allowed to bring any equipment to MODIFY
sounds, including bows, malletts, laptop computers,
samplers and effects. You can't use guitars, drums,
voice, etc, unless it's the sound of the found object
that we're hearing. (For example, using a spring as a
prepared guitar implement is not allowed, but using a
guitar as a midi device to control samples of a spring
is allowed.)

The objects submitted by the audience will be placed
in a loose mess around the performance area. During
your set, you're free to pick up and use any of the
objects you feel are appropriate for what you're
doing. All the acts in the night will be working from
the same pool of objects. I try to book a variety of
musical styles in each night though, so different acts
will use different objects, or the same objects
differently. In order to keep the event on schedule,
we ask the artists to have their equipment set-up
before the show starts.

Anyway, if you're interested, please email me
off-list.  Right now we're only looking for 2 or 3
people, but we keep "extra" folks in mind for future
installments. 

Matt Davignon


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From ???@??? Sat Oct  2 04:39:09 2004
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Hi people
I´m looking for experimetal audio software special glitch music(for PC)
Recomendated please.
Thanks in advance




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From ???@??? Sat Oct  2 04:52:52 2004
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From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: [microsound] OT: ID this? "mysti-cat, sophisti-cat, aristo-cat..."
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Hey folks,

Sorry for the OT posting, but my ear was virusized at Burning Man by a
groovy electronica mid-tempo lounge track with a perpetually mutating
vocal line as described in the subject line.

Any idea what this might be?  Trusting to crossover interests of .m
listers...

Btw if you know what it is, do you know what genre it is?  I heard a fair
amount of stuff that was obviously in the same style but I'm woefully
ignorant of current sub-sub-genre proliferation in dance music... :/

 best,
  aaron

  xxxxx@xxxx.xxx
  http://www.quietamerican.org

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IMPOSTURAS didst pen:
>>I´m looking for experimetal audio software special glitch music(for PC)

not sure what exactly you mean by experimental? should the software be
experimental, or should it be software for sound-experiments?.. anyway,
assuming the last and given that quite a few of these fall into the first
categorie just as well:
there is a whole section devoted to open source programs on the microsound
wiki

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

pd, cecilia and csound would be my personal recommendations from the list.
http://at.or.at/hans/pd/installers.html here is an installer compiled
featuring most externals.

more nice programs, including granulab and audiomulch (wicked) are on the
granulator-wiki page:
http://microsound.nexthop.net/bin/view.cgi/Main/GranuLator

not free/open source but also great programs are: maxmsp, reaktor,
vaz-modular (the last being a "geheimtip")...

http://www.smartelectronix.com/ has heaps of experimental vst plugins you
can use within your daw, but also audiomulch, vazmod, and more...

http://www.plogue.com/ bidule from plogue is similar to pd/max, but less
sophisticated (thus easier to learn.... i would recommend to try (the free
beta), if you have no experience with modular systems... i have used this to
sketch ideas for pd patches in the past, i.e.

http://www.webcenter.ru/%7Evsoft/BitmapPlayer.htm
this was only posted to this list recently - wav/bmp/wav conversion, and
links to 3 other tools.
in a similar vain you could also check out coagula:
http://hem.passagen.se/rasmuse/Coagula.htm

http://www.ixi-software.net/
(do people use these´?)   these guys have various funny progs. personally
however i never managed to get much out of them, some wouldn't even work....

ok, guess there is more. i know of some very long link-lists existing,
couldn't dig them up atm though....

have fun, create and pro.. ah forget the last,
hidari


°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
http://www.skug.at/

>> necro'phon'i'con (from Greek: Necros- dead, phon- sound, icon -picture,
representation; the book of dead sounds, or the image of dead sounds) a
standard reference work for the acoustic oddities of pulp-occultist lore.
made mostly from fragments of killed sounds, a franken- meets
wittgenstein-ian creation playing duelling banjos with all dsp available but
no banjos....
°°°°°



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From ???@??? Sat Oct  2 13:02:43 2004
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Aaron,
I believe that those words are from a track off the
last Outkast album The Love Below not speakerboxx.
Don't know the track name but the track comes after
one of their cleaver interludes...something about "the
fiddler on the MF'ing roof" then the track starts "A
Lady, A Lady"....BTW there is also a very, I think,
interesting cover of My Favorite Things on the same
album. If you want I'd be glad to email a mp3 of said
track when I dig up my copy.
PoM:A


                
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>> Cage was just a faggot folk hero

That was an appalling comment, really surprising to hear that kind of 
thing on this list.  John Cage is one of the most important artists of 
the last century hands down.  His influence extends way beyond the 
fairly narrow world of electronic music.

>>  I thought Bush came across as humane while
>> Kerry came across cold and stern and failed to really
>> show any points remarkably different than Bush's own policies.

I guess the right wing's crusade has infiltrated a lot further than I 
thought.  What's next, Christian electronica?

Ben Neill


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From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] TWiki down?
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Well, is the TWiki down? I get a "connection refused" error.

P


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


=========
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=========

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 FILETIME=[33B92A60:01C4A8B0]

I agree, Cage gets slammed a lot on this list. His influence extends much 
further than electronic music, he influenced and still influences the worlds 
of painting, sculpture, poetry, graphic design, performance art, sound art, 
music, not to mention he was the first western to go into the soviet union 
during the cold war to give a talk about mushrooms (even the soviets loved 
him). Cage really worked to remove the ego as much as possible from art 
making, mostly through the use of chance operations. His contribution to 
western artseems the introduction of chance into art making and intentional 
removal of ego. I would hardly consider him a folk hero, that's simply an 
ignorant statement, Cage was educated and a pivotal figure in the modern and 
post modern art movements (read some of Calvin Tomkins books to learn more). 
Cage provided alternatives to how we listen to sound and developed creative 
performative structures, not just new toys to make sound with, he also 
presented the phonograph cartridge as a musical instrument and thus created 
live electronic music.

From liner notes to Fontana Mix - Feed - Max Neuhaus/six realizations of 
John Cage - Alga marghen

- "Electronic music-making was, in fact, confined to a studio where tape 
recordings were made and manipulated. These were then supposed to be played 
back to an audience sitting in a concert hall watching two loudspeakers. 
Except for Cage's performances with phonograph cartridges, live electronic 
music did not exist."

Scott Allison

>>>Cage was just a faggot folk hero
>
>That was an appalling comment, really surprising to hear that kind
>of thing on this list.  John Cage is one of the most important
>artists of the last century hands down.  His influence extends way
>beyond the fairly narrow world of electronic music.

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>I agree, Cage gets slammed a lot on this list.
-I don't understand why Cage the composer and Cage the
 writer/philosopher can't be judged separately.
 When people are active both as artists and theoretical
 writers, they quite often contradictory in their acts.
 Theories often sound very inspirational, but make
 lousy art. As much as great art is often lousy theory.


>Cage provided alternatives to how we listen to sound and developed creative
>performative structures, not just new toys to make sound with, he also
>presented the phonograph cartridge as a musical instrument and thus created
>live electronic music.
-For the development of live electronic music has been very
 important. The current laptop performance-warriors own a lot
 to him. He also started much earlier with it than Stockhausen.


>Cage was just a faggot folk hero
-I never understood what this had to do with his music,
 in the first place. Secondly, I don't think it's anyone's
 bloody business. Too much emphasis is placed on this.
 Also in the political world in the USA and also in the UK,
 if your inclination is of what Cage was accused of, you
 are deemed to be unfit to be  government. To what reason
 is never told. Just accusations.


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 don't understand why Cage the composer and Cage the
>  writer/philosopher can't be judged separately.

I am sure you could judge them separately, might be a good topic for a book, 
don't wait for someone else to do it. More perspectives are better than less 
perspectives.

>  When people are active both as artists and theoretical
>  writers, they quite often contradictory in their acts.

Examples?

>  Theories often sound very inspirational, but make
>  lousy art. As much as great art is often lousy theory.

True, often performances come out being lousy other times successful 
(regardless of whoever it is doing truly live electronic music, (there was a 
long thread discussing what might constitute live electronic music recently 
on this list, in Cages example I think he fits into the performance side, 
all sound making being generated in real time, and as a result sometimes a 
performance is successful, other times awful, chance has a hand in the 
matter as the composition takes place in the moment, although Cage did 
create performance strategies... of which seem to influence the work of 
people like Steve Roden for a contemporary relationship, he talks about 
using strategies in most of his work, doesn't mean his work is always good). 
Cage seemed more interested in the results of the information derived from 
chance operations (again read Tomkins), the whole idea being that you might 
discover something that you/your ego would have never made and thus 
informing new ideas/solutions. Often times this practice results in (for 
better or worse - loose connections or entropic noise, but it can also 
provide for new ideas and new relationships in meaning).

Saying Cage made lousy art is to general of a statement, (not to suggest 
that your statement is saying he made lousy art,it seems you are speaking in 
more general terms here.) (but one needs to be really specific if saying 
Cage made lousy art, he produced work in so many fields, are we referring to 
his sound work (which recording/performance in particular, and by what 
system are we using to say its lousy?), or maybe the rock paintings he did 
as artist in residence VA tech (which are considered stunning and highly 
sought after), artistic judgment can also depend on what sort of cultural 
filter we look/hear through, sure Cage would be lousy to someone expecting 
to hear electornica like Autechre (based on a cannon of beats and lush 
melodies), and look what happened to Autechre when they released Confield 
(mostly beatless noise), the AE fan base hated it, does that make them Lousy 
artists? No. Artists are allowed to make things people might not like, I 
commend that action, because that shows someone is willing to take a risk 
and do something that might not be accepted or considered popular, also 
helps to keeps life fresh.

Best
Scott Allison

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From: alkzan <xxxxxx@xxxxx.xx>
Subject: [microsound]  chaos path
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 does anybody knows where to buy a chaos path>?

 or... is there a piece of sotware that can 
 do as much (or more) than a hardware c. path
 in real time? that will be nice.

 than you in advance:)

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From ???@??? Sat Oct  2 21:56:35 2004
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> More perspectives are better than less perspectives.
-I agree fully. To what extent it's likely, is another
 matter. Simplifications or dumbing, is often more
 appreciated.


>When people are active both as artists and theoretical
>writers, they quite often contradictory in their acts.
>Examples?
-I was actually thinking about Henry & Schaeffer in their
 statements about musique concrete, but also about Meyer-Eppler
 at the WDR-Studio in Koln, Germany. In both cases, statements
 were made that the new electronic means would make acousticial
 instruments unimportant. Now you can view these statements in
 the light of their content or in the light of the revolutionary
 elan that was taking place just after the Second World War in Europe,
 which basically ruined its cultural life. I'm inclined to do
 both.

>True, often performances come out being lousy other times successful
>(regardless of whoever it is doing truly live electronic music, (there was a
>long thread discussing what might constitute live electronic music recently
>on this list, in Cages example I think he fits into the performance side,
>all sound making being generated in real time, and as a result sometimes a
>performance is successful, other times awful, chance has a hand in the
>matter as the composition takes place in the moment, although Cage did
>create performance strategies... of which seem to influence the work of
>people like Steve Roden for a contemporary relationship, he talks about
>using strategies in most of his work, doesn't mean his work is always good).
-If you are adressing here the level of quality of live electronic
 music concerts, I think rehearsing and decent preparation can overcome
 a lot of the 'awfullness' you are referring to. To what extent 'live'
 is important is open for discussion

>Cage seemed more interested in the results of the information derived from
>chance operations (again read Tomkins),
-As any good composer would be. Think Xenakis was kind of similar.

>the whole idea being that you might
>discover something that you/your ego would have never made and thus
>informing new ideas/solutions.
-Which is a very succesfull method indeed.

>Often times this practice results in (for
>better or worse - loose connections or entropic noise,
>but it can also provide for new ideas and new relationships in meaning).
-Depends on the interpretations and the needs.

>Saying Cage made lousy art is to general of a statement,
>(not to suggest
>that your statement is saying he made lousy art,it seems you are speaking in
>more general terms here.) (but one needs to be really specific if saying
>Cage made lousy art, he produced work in so many fields, are we referring to
>his sound work (which recording/performance in particular, and by what
>system are we using to say its lousy?), or maybe the rock paintings he did
>as artist in residence VA tech (which are considered stunning and highly
>sought after),
-I actually quite like the works of the composer Cage;
 i also think he's a good writer in any sense of the word.

>artistic judgment can also depend on what sort of cultural filter
>we look/hear through,
-Intriguing question is, how wide or limited should this filter be?


>Artists are allowed to make things people might not like, I
>commend that action, because that shows someone is willing to take a risk
>and do something that might not be accepted or considered popular,
-There are only instincts to follow, whether the supposed audience likes
 it or not.

>also helps to keeps life fresh.
-Which is the best way to sabotage presumption...

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 Oct  2 22:12:18 2004
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> does anybody knows where to buy a chaos path>?

err...do you mean a korg kaoss pad ?

not sure of any software that does the same, but i'd highly recommend the
hardware. cheap & fun...should be available from any of yer usual online
retilers, or ebay, for that matter.


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Subject: Re: [microsound]  chaos path
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do you mean Kaos Pad?


On Oct 2, 2004, at 5:49 PM, alkzan wrote:

>
>
>  does anybody knows where to buy a chaos path>?
>
>  or... is there a piece of sotware that can
>  do as much (or more) than a hardware c. path
>  in real time? that will be nice.
>
>  than you in advance:)


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From ???@??? Sat Oct  2 22:23:55 2004
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>>a chaos path

read the tao te king ...:)


hidari


°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
http://www.skug.at/

>> necro'phon'i'con (from Greek: Necros- dead, phon- sound, icon -picture,
representation; the book of dead sounds, or the image of dead sounds) a
standard reference work for the acoustic oddities of pulp-occultist lore.
made mostly from fragments of killed sounds, a franken- meets
wittgenstein-ian creation playing duelling banjos with all dsp available but
no banjos....
°°°°°



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From ???@??? Sun Oct  3 02:08:48 2004
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A friend put up some quality microsound-y CDs, mostly older.
Nice group of stuff, second 1/2 of the list.

 http://tinyurl.com/3sxp4

Peter


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Hello microsounders, 

I am wondering if anyone can share some tips or advice
concerning intentional malicious code for soundcard
hacking. I have messed with various vsts which aim to
provide a skip of the buffer, but none give me the
desired specific control I am looking for. My method
now to achieve the sound I like, is to overload the
puter until eventually it glitches and skips, and I
can play with that somewhat, although the technique is
not what i want to do, b/c once buffer is being
altered, I can not seem to record the result. I am
looking for any advice really on this matter. 

Thank you,

d.



                
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From ???@??? Sun Oct  3 02:55:17 2004
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have you tried the great buffer override plug-in located here:

http://www.smartelectronix.com/~destroyfx/

i love that thing. i run everything through it. everything.  some great
results.

g.

Verlorene_Ursache wrote:

> Hello microsounders,
>
> I am wondering if anyone can share some tips or advice
> concerning intentional malicious code for soundcard
> hacking. I have messed with various vsts which aim to
> provide a skip of the buffer, but none give me the
> desired specific control I am looking for. My method
> now to achieve the sound I like, is to overload the
> puter until eventually it glitches and skips, and I
> can play with that somewhat, although the technique is
> not what i want to do, b/c once buffer is being
> altered, I can not seem to record the result. I am
> looking for any advice really on this matter.
>
> Thank you,
>
> d.
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! Mail Address AutoComplete - You start. We finish.
> http://promotions.yahoo.com/new_mail
>
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From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] intentional soundcard hacking?
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I assume you've tried bufferoverride from destroyfx? skidder works well 
too.

What other vst's have you come across that cause butter stuffer? I mean 
buffer stutter?

I always do it the brute force way: run a java applet in Mozilla Firefox, 
maybe another one in Mozilla, install and compile a program using Fink and 
then use beta software like audacity with a few too many tracks. stutter 
city. Does this not create the desire you want?

P


> Hello microsounders,
>
> I am wondering if anyone can share some tips or advice
> concerning intentional malicious code for soundcard
> hacking. I have messed with various vsts which aim to
> provide a skip of the buffer, but none give me the
> desired specific control I am looking for. My method
> now to achieve the sound I like, is to overload the
> puter until eventually it glitches and skips, and I
> can play with that somewhat, although the technique is
> not what i want to do, b/c once buffer is being
> altered, I can not seem to record the result. I am
> looking for any advice really on this matter.
>
> Thank you,
>
> d.


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


=========
Phil Thomson
home: http://www.sfu.ca/~pthomson
blog: http://pthomson.blogspot.com/
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 ???@??? Sun Oct  3 04:48:54 2004
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From: alkzan <xxxxxx@xxxxx.xx>
Subject: Re: [microsound]  chaos path
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 ys a kaosschaotik fking path pad!

 tnks i might trt it zoon.



--- michael trommer <xxxxxxx@xxxxxxxxx.xx> wrote: 
> > does anybody knows where to buy a chaos path>?
> 
> err...do you mean a korg kaoss pad ?
> 
> not sure of any software that does the same, but i'd
> highly recommend the
> hardware. cheap & fun...should be available from any
> of yer usual online
> retilers, or ebay, for that matter.
> 
> 
>
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>  

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

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From ???@??? Sun Oct  3 05:35:15 2004
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Subject: Re: [microsound]  chaos path
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Or try spongefork -


"th_ost"  wrote:

>>> a chaos path
> 
> read the tao te king ...:)
> 
> 
> hidari
> 
> 
> °°°
> th_ost: tomoroh hidari_oliver stummer
> acronymic symbiosis of alter & ego
> 
> http://www.tomoroh.com/
> http://www.stiege44.com/
> http://www.skug.at/
> 
>>> necro'phon'i'con (from Greek: Necros- dead, phon- sound, icon -picture,
> representation; the book of dead sounds, or the image of dead sounds) a
> standard reference work for the acoustic oddities of pulp-occultist lore.
> made mostly from fragments of killed sounds, a franken- meets
> wittgenstein-ian creation playing duelling banjos with all dsp available but
> no banjos....
> °°°°°
> 
> 
> 
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> 


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Your subject made me think of something else at first glance: has anyone  
tried circuit bending a sound interface?

On Sat, 2 Oct 2004 19:38:03 -0700 (PDT), Verlorene_Ursache  
<xxxxxxxxxxxxxxxxxxxxxxx@xxxxx.xxx> wrote:

> Hello microsounders,
>
> I am wondering if anyone can share some tips or advice
> concerning intentional malicious code for soundcard
> hacking. I have messed with various vsts which aim to
> provide a skip of the buffer, but none give me the
> desired specific control I am looking for. My method
> now to achieve the sound I like, is to overload the
> puter until eventually it glitches and skips, and I
> can play with that somewhat, although the technique is
> not what i want to do, b/c once buffer is being
> altered, I can not seem to record the result. I am
> looking for any advice really on this matter.
>
> Thank you,
>
> d.
>
>
>
>                 
> __________________________________
> Do you Yahoo!?
> Yahoo! Mail Address AutoComplete - You start. We finish.
> http://promotions.yahoo.com/new_mail
>
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Date: Sun, 03 Oct 2004 09:41:10 +0200
From: Kassen <xxxxxx@xxxxxx.xxxx.xx>
Subject: Re: [microsound] project names vs real names...
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Anthony Saunders write;

> hello .microsounders,
>
> Recently I've been struggling not with my creative music efforts, but
> with how to present them or, i guess, market them.
>
> I can intuitively feel that there are pro's and con's to presenting my
> music under my real name vs a stage name or "band" name, but am having
> a hard time articulating them well enough that I can figure out which
> route I'd like to go.

I went with my real first name (Kassen) for a couple of reasons. First of
all, since I experience my own music as a fairly personal affair it makes
sense to not "hide" and sign it with my real name. Secondly, since I simply
have that name, nobody can suddenly jump up for copyright infringement or
whatever. The cooler your chosen name, the larger the chance that somebody
else already thought it was cool, you might have to change it, etc, or so I
figured.

Admittedly having a somewhat rare name helps a lot there which is mostly a
matter of luck.

Because of label politics and the occasional urge to jump styles I might
need a second name some time in the future so I´ll be following this
discussion with interest.

Yours,
Kas.
(well, Kassen, for the occasion, i suppose :¬) )




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From ???@??? Sun Oct  3 07:58:26 2004
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From: "pyo.p" <xxx.x@xxxx.xx>
Subject: [microsound] audio USB
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hello list !
i know it has been posted many times but i'm still looking for a good audio/usb soundcard for my pc.
some of you use it ? any idea, advice ? 
thanks for your attention.
pyo.
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From ???@??? Sun Oct  3 09:21:03 2004
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The FM chips from old soundblasters would probably be similar to the chips
in Casio keyboards of the same vintage.

> Your subject made me think of something else at first glance: has anyone
> tried circuit bending a sound interface?
>
> On Sat, 2 Oct 2004 19:38:03 -0700 (PDT), Verlorene_Ursache
> <xxxxxxxxxxxxxxxxxxxxxxx@xxxxx.xxx> wrote:
>
>> Hello microsounders,
>>
>> I am wondering if anyone can share some tips or advice
>> concerning intentional malicious code for soundcard
>> hacking. I have messed with various vsts which aim to
>> provide a skip of the buffer, but none give me the
>> desired specific control I am looking for. My method
>> now to achieve the sound I like, is to overload the
>> puter until eventually it glitches and skips, and I
>> can play with that somewhat, although the technique is
>> not what i want to do, b/c once buffer is being
>> altered, I can not seem to record the result. I am
>> looking for any advice really on this matter.
>>
>> Thank you,
>>
>> d.
>>
>>
>>
>>
>> __________________________________
>> Do you Yahoo!?
>> Yahoo! Mail Address AutoComplete - You start. We finish.
>> http://promotions.yahoo.com/new_mail
>>
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>> website: http://www.microsound.org
>>
>
>
>
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Subject: Re: [microsound] audio USB
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hello

imo you have to check m-audio website, very good usb and firewire 
soundcards, not much expensive.....

have good times




www.smbp.it



Il giorno 03/ott/04, alle 10:10, pyo.p ha scritto:

> hello list !
> i know it has been posted many times but i'm still looking for a good 
> audio/usb soundcard for my pc.
> some of you use it ? any idea, advice ?
> thanks for your attention.
> pyo.
> --
> :. . xxx@xxxx.xx : . . . :~. :|.6  . / ; http://pyo.free.fr- k . 32 . 
> . :~.
> http://pyo.workgroup.free.fr .- [ e | ° -- : . . .,. " ².. | :
> http://pause.asso.free.fr  : . .- :. . k . / ; .# -.: .


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Symbiosis

Experimental Sound Textures and Rhythms
[Headphones recommended]

12am - 2am Sunday nights
(2pm - 4pm 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,

Back to the studio after a refreshing week off... hope you've all been well.

The great news is that Symbiosis is presenting Greg Davis' show in
Melbourne.. His new record, 'Somnia', arrived this week (out Oct 18th) and
it showcases a different side of his musical output. This one is all about
tones and drones... very nice stuff. So if you're in Melbourne I hope you
can make it down to the show (see below for details).

Tonight on the show, City Frequencies join me to chat about their new 6.1
surround installation. 'Cafe Voyeur' takes place as part of Melbourne Fringe
Festival (see: http://www.akm.net.au/cityfreqs/cv.htm) from this Thursday
7th October. Matt and Nick will be performing live on Symbiosis tonight and
will utilise the large sound back that they amassed during their original
excursion to Kent St Cafe in July.

In the coming weeks...

10/10: Dallas Simpson chats about his binaural recordings and the intentions
of his location-specific recordings. Have your headphones out for this one -
Dallas has very kindly sent across some of his 'Adoration of Willow' series.
I have chosen the piece from Kneeton which he describes as follows: "In
Kneeton, there is a long, approximately 8 minute walk-in, with quiet natural
ambience and footsteps. The snapping sounds are from dead twigs probably
stripped from the trees during winds. In Kneeton, much of the improvisation
related to the fact that the trees were distorted and dying due to the fact
that the river had beed diverted some 50 years previously and the willows no
longer inhabited the bank. The ditch alongside the trees, formerly the river
bed, occasionally fills with water after rain, which was the case on this
occasion. The half decayed
hulls of the trunks and dead branches offered wonderfully subtle
resonances."

In the pipeline: Listening to the Mind concert, Anthony Guerra, Sijis
Records, Taalem Records, Steve Law, Ian Andrews, Mike Hallenbeck

Upcoming events...

13/10:
Symbiosis presents...

Greg Davis (USA)
Qua and friends
Ai Yamamoto

DJ: Simon Hampson

Bourgie, 397 Lt Lonsdale St, Melbourne

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

Until next week,

Simon.
now playing: Ontayso / Sense / Tim Koch - Where have you been? What have
you done? And Why? (U-Cover)
now watching: Teen Wolf
--------------------------------------------
Show Date: 19/9/04

Guests/Features:
The September label feature takes a look at Fallt publishing
(http://www.fallt.com/). Fallt formed in the late 90s and their world
empire beams its transmissions from the unlikely place of Hillsborough,
N. Ireland! Christopher Murphy has a chat with me about the past and
future of the label, online music and more...

Artist :: Track :: Album :: Label
(all releases on Fallt - P = physical release/o = online)

Si-cut.db :: slavic :: Offices At Night [Vol 1 - originals] :: P

Hard Sleeper :: land :: live @ rausch 5/11/02 :: P

Alejandra & Aeron :: Empire 01 :: Empire (Xmas Gift 2003) :: o

Ian Andrews :: assistance :: Offices At Night [Vol 2 - vol 1] ::
(upcoming o&P release)

Christopher Willits :: no gasoline :: Pollen :: P

Invalid Object (http://www.fallt.com/invalidObject/) mix:

Pita
Scanner
Cray
Taylor Deupree
Rsundin
Kim Cascone
Junior Varsity
Steve Roden
Warmdesk
V/Vm
eM
Stephan Mathieu
Eloy Anzola
Goem
Ekkehard Ehlers
Richard Chartier
Massimo
Akira Rabelais

Invisible Cities (http://www.fallt.com/invisiblecities/) mix:

Beijing Sound Unit - Beijing
Danylo & Mass - Naples
Lawrence English - Brisbane
Frans de Waard - Nijmegen
Gregory Cowley - Marrakesh

Ian Andrews :: recursive toupee :: Ceremonial :: Ferric Series (P)

Tu M' :: nervous breakdown :: Pop Involved [Ver 3.0] :: Ferric Series
(P)

Camp :: it's the same thing over and over! :: Fodder :: o

Dat Politics :: rag :: Fodder :: o

Ted Sulkowicz :: kolc :: Fodder :: o

Slub :: 20010203 (folded) :: Fodder :: o

Komet +/vs. Bovine Life :: behind :: Reciprocess Vol 1 :: o

Si-cut.db + Full Swing +/vs. Stephan Mathieu + Douglas Benford ::
octavia.drive :: Reciprocess Vol 2 :: o

Sebastian Roux :: constance :: Offices At Night [Volume 2 - vol 1] ::
(upcoming o&P release)

Mikael Stavostrand :: fallt 2 :: untitled upcoming P release

--
Links from this week's show:

All content: http://www.fallt.com/

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From ???@??? Sun Oct  3 12:15:25 2004
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Subject: Re: [microsound] intentional soundcard hacking?
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when you're running fruityloops 3 and you get a memory overload there are good noises from the patterns you've created.

Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx> wrote:I assume you've tried bufferoverride from destroyfx? skidder works well 
too.

What other vst's have you come across that cause butter stuffer? I mean 
buffer stutter?

I always do it the brute force way: run a java applet in Mozilla Firefox, 
maybe another one in Mozilla, install and compile a program using Fink and 
then use beta software like audacity with a few too many tracks. stutter 
city. Does this not create the desire you want?

P


> Hello microsounders,
>
> I am wondering if anyone can share some tips or advice
> concerning intentional malicious code for soundcard
> hacking. I have messed with various vsts which aim to
> provide a skip of the buffer, but none give me the
> desired specific control I am looking for. My method
> now to achieve the sound I like, is to overload the
> puter until eventually it glitches and skips, and I
> can play with that somewhat, although the technique is
> not what i want to do, b/c once buffer is being
> altered, I can not seem to record the result. I am
> looking for any advice really on this matter.
>
> Thank you,
>
> d.

                
---------------------------------
Yahoo! Acesso Grátis - Internet rápida e grátis. Instale o discador agora!
--Boundary_(ID_u9SpSxCY8ZZrCEoxqH/fTA)--

From ???@??? Sun Oct  3 13:36:40 2004
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From: Thanos Chrysakis <xxxxxxxx@xxxxxxx.xx.xx>
Subject: [microsound] human voice range
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Hi list,


is that correct that
human voice range covers 300 Hz to 3500 Hz ?

is that why most instruments have been designed
in this range?


any idea(s)?
thank you

Thanos


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From ???@??? Sun Oct  3 14:14:38 2004
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From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: Re: [microsound]  chaos path
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hi

> >>a chaos path

( 04.10.03 00:21 +0200 ) th_ost:
> read the tao te king ...:)

hmm ... i think 'dharma bums' would be better [or 'howl']. beats were
very chaotic.

taoists flow, blend.

-- 
\js    $(      ;\     '..@"]~{&      ~%   ;http://or8.net/~johns ( 

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From ???@??? Sun Oct  3 14:17:45 2004
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From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: Re: [microsound] TWiki down?
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hi

( 04.10.02 17:56 +0000 ) Phil Thomson:
> Well, is the TWiki down? I get a "connection refused" error.

it came up for me
Sun Oct  3 09:57:48 EDT 2004

i know the sysadmins were changing the hardware [more discs], but i was
not given a schedule.

lemme know if problems persist.

-- 
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Date: Sun, 03 Oct 2004 16:22:40 +0200
From: Massimiliano Viel <xxxx@xxxxxxx.xx>
Subject: Re: [microsound] human voice range
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>Hi list,
>
>
>is that correct that
>human voice range covers 300 Hz to 3500 Hz ?
>
>is that why most instruments have been designed
>in this range?

the human voice range starts about  83 Hz (E2) and more or less goes 
up to  1046 Hz (C6)...

I wouldn't say that there is a direct and causal correspondence 
between voice range and (most) intruments range. It's something more 
complex that links voice range, listenings discrimination, physiology 
of the auditive system and physics of the instruments...

of course most instruments are classified by their range following 
voice classifications (bass, baryton, tenor, alto, mezzosoprano, 
soprano) and following more or less their range.. that's true...

still, in my opinion, a close direct causal relationship is still 
far... I would rather say that human voice and intruments range are 
part of the same meaning system...

massimiliano


-- 
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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>a close direct causal relationship is still far...
-However one can not overlook the rich tradition of
 vocal music supported with/by acoustic instruments.
 Also the articulation possibilities that the voice
 has, is still unsurpassed. Perhaps only electronics
 have a wider range.

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 Oct  3 14:54:09 2004
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Date: Sun, 03 Oct 2004 14:53:35 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] human voice range
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Depends on the voice of course, as well as on the sound it's making. 
Certainly telephones have been designed with that frequency response in 
mind as the minimum bandwidth required for voice intelligibility. I don't 
know about how the range of instruments corresponds to the range of the 
voice. It seems to me there are just as many instruments that go beyond 
the range of the normal voice (piccolo, double bass) as there are that 
nestle within a voicelike range for the most part (clarinet, violin). 
Originally, instruments were designed to be sung with, so they certainly 
needed to have a similar range to a voice, but now that instrumental music 
has become so independent of the voice, it's not necessarily the case any 
more. Perhaps the history of the development of instruments in "Western" 
music is the history of the move of instrumental music away from the role 
of accompaniment and towards an independent realm.

P


> Hi list,
>
>
> is that correct that
> human voice range covers 300 Hz to 3500 Hz ?
>
> is that why most instruments have been designed
> in this range?
>
>
> any idea(s)?
> thank you
>
> Thanos



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


=========
Phil Thomson
home: http://www.sfu.ca/~pthomson
blog: http://pthomson.blogspot.com/
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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test. please ignore.

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From ???@??? Sun Oct  3 17:42:48 2004
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I think Nicolas Collins gave a workshop on this a few months ago @
STEIM, Amsterdam.     Maybe you can search in that direction.

S/

-----Message d'origine-----
De : Murat Gunes [mailto:xxxxxx@xxx.xxx] 

Your subject made me think of something else at first glance: has anyone

tried circuit bending a sound interface?

 
> I am wondering if anyone can share some tips or advice
> concerning intentional malicious code for soundcard
 




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From: kathy kennedy <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] Re:human voice range
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In fact, a healthy human voice has overtones that we do not 
neccessarily "hear" up to and beyond 15khz. That's what makes it so 
difficult to simulate.
kk
On Oct 3, 2004, at 6:36 AM, xxxxxxxxxx-xxxxxx-xxxx@xxxxxxxxx.xxx wrote:

> human voice range
http://www.kathykennedy.ca


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Subject: [microsound] project names vs real names...
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hello .microsounders,

Recently I've been struggling not with my creative music efforts, but 
with how to present them or, i guess, market them.

I can intuitively feel that there are pro's and con's to presenting my 
music under my real name vs a stage name or "band" name, but am having 
a hard time articulating them well enough that I can figure out which 
route I'd like to go.

Stuff like this always seems to distract me from the important thing, 
which is making good music, so I try not to think too hard about it. 
But then I end up with cds full of music and no real idea how to 
present them.

Any ideas on this topic?

Anthony


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From ???@??? Sun Oct  3 18:52:01 2004
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From: David Newman <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] project names vs real names...
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I would choose a project name.... some thing well thought out - that 
reflects you and the music  -  a made up word will do - a combination of 
words.....

It means that if you choose direction in the future - or want to explore a 
different style all together your project name can change and you present 
your listener's with a clearer label about where you are coming from....

some people do go with their name.... and it works for some - it would never 
work for me - because i share my name with the famous film composer David 
Newman

Kim Cascone writes under his name though and it seems to flow for him.....

"name project" is a quite good name in itself............... :)
----- Original Message ----- 
From: "Anthony Saunders" <xxxxxxx@xxxxxxxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, October 03, 2004 7:38 PM
Subject: [microsound] project names vs real names...


>
> hello .microsounders,
>
> Recently I've been struggling not with my creative music efforts, but with 
> how to present them or, i guess, market them.
>
> I can intuitively feel that there are pro's and con's to presenting my 
> music under my real name vs a stage name or "band" name, but am having a 
> hard time articulating them well enough that I can figure out which route 
> I'd like to go.
>
> Stuff like this always seems to distract me from the important thing, 
> which is making good music, so I try not to think too hard about it. But 
> then I end up with cds full of music and no real idea how to present them.
>
> Any ideas on this topic?
>
> Anthony
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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>
>
>
> 



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Yes, this is how I'm leaning right now. I'm looking, i guess, for a 
kid606 or afx-esque moniker that I feel comfortable using for 
everything from my ambient/drone/noise to my jungle/idm/breakcore 
tracks to whatever other material I make. I have a couple ideas that 
I'm letting gestate in my head to see what I feel comfortable with over 
time. When it comes to modern computer music, the grey area between 
academic / "serious" music and pop / techno / punk can feel very large 
and easy to fall into.

Then again, I'm also looking for a good way to bridge the gap between 
my largely improvisational beat-less music and my largely hyper-edit 
precise breakcore material. I've decided to tackle this for now by 
forcing myself to focus on learning how to play as live as possible at 
all times, beats or no beats, melodic or not. Going to be interesting 
to see what happens to my music under this restriction: in the end, I 
think I will be a better musician for it, and that my music will be 
more expressive.

Anthony

On Oct 3, 2004, at 3:04 PM, chthonic streams wrote:
>
> on the other hand, if your project reaches across other genres, some 
> people do like to hear a name that sticks in their heads.  this is, i 
> guess, the marketing side of it, because what you're doing in this 
> case is branding.  you're building up a name to permanently associate 
> with the music that you do.  it's really the same thing as with your 
> own name, it's just that a project name may be more instantly 
> recognizable, depending on what you're going after and what your name 
> is.  for example, if your given name is bjork or madonna, there's not 
> much reason to come up with a project name.


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>hello .microsounders,
>
>Recently I've been struggling not with my creative music efforts, 
>but with how to present them or, i guess, market them.
>
>I can intuitively feel that there are pro's and con's to presenting 
>my music under my real name vs a stage name or "band" name, but am 
>having a hard time articulating them well enough that I can figure 
>out which route I'd like to go.
>
>Stuff like this always seems to distract me from the important 
>thing, which is making good music, so I try not to think too hard 
>about it. But then I end up with cds full of music and no real idea 
>how to present them.
>
>Any ideas on this topic?

it seems to me that in the world of experimental music, whether live 
or electronic, real names prevail.  one could argue that musicians 
and listeners of this genre are pretty much unaffected by things such 
as names and may even view a project name as silly.  in fact, it 
almost seems that the more "unusual" or "unmarketable" (to western, 
and particularly american ears) a given name is, the better it sounds.

on the other hand, if your project reaches across other genres, some 
people do like to hear a name that sticks in their heads.  this is, i 
guess, the marketing side of it, because what you're doing in this 
case is branding.  you're building up a name to permanently associate 
with the music that you do.  it's really the same thing as with your 
own name, it's just that a project name may be more instantly 
recognizable, depending on what you're going after and what your name 
is.  for example, if your given name is bjork or madonna, there's not 
much reason to come up with a project name.


d.

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From ???@??? Sun Oct  3 19:50:14 2004
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good topic, i find myself musing on this one...
many local soundmakers in the michigan area use project names... some of
them have several, with each one representing some schism of their
direction, techniques, strategy or tactics... i find this interesting,
because the boundaries are often imperceptible, and i often feel,
unnecessary...
i reserve project names for ongoing collaborations, which i guess is an
old-school nod towards the concept of self-contained "bands"...
i also think that many of the artists i respect the most use a name (not
always their given name, sometimes an adopted psuedonym) for their work...
kevin drumm, aaron dilloway, rafael toral, fennesz, trimpin, irene moon, for
example...
i would also closely align those who use their initals with this (slong with
the aforementioned who use their surnames only)... such as pbk & rlw...
i like the "real"...
a sample of my $o2
thanx for the interesting question...
~will soderberg

http://white-rose.net
http://white-rose.net/shows.shtml upcoming & past shows (including a few in
the nothwest later this month)
http://white-rose.net/sounds.html white rose network releases catalog
http://www.existentialista.com/~uforika/ mp3s


----- Original Message ----- 
From: "Anthony Saunders" <xxxxxxx@xxxxxxxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, October 03, 2004 2:38 PM
Subject: [microsound] project names vs real names...


>
> hello .microsounders,
>
> Recently I've been struggling not with my creative music efforts, but
> with how to present them or, i guess, market them.
>
> I can intuitively feel that there are pro's and con's to presenting my
> music under my real name vs a stage name or "band" name, but am having
> a hard time articulating them well enough that I can figure out which
> route I'd like to go.
>
> Stuff like this always seems to distract me from the important thing,
> which is making good music, so I try not to think too hard about it.
> But then I end up with cds full of music and no real idea how to
> present them.
>
> Any ideas on this topic?
>
> Anthony
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>



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From ???@??? Sun Oct  3 20:26:31 2004
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Subject: Re: [microsound]  chaos path
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or a biography about yr ass maybe?


 --- john saylor <xx@xxxx.xxxxxxxx.xxx> wrote: 
> hi
> 
> > >>a chaos path
> 
> ( 04.10.03 00:21 +0200 ) th_ost:
> > read the tao te king ...:)
> 
> hmm ... i think 'dharma bums' would be better [or
> 'howl']. beats were
> very chaotic.
> 
> taoists flow, blend.
> 
> -- 
> \js    $(      ;\     '..@"]~{&      ~%  
> ;http://or8.net/~johns ( 
> 
>
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From ???@??? Sun Oct  3 20:44:18 2004
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Subject: Re: [microsound] project names vs real names...
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I think a lot of us have given this one quite a bit of thought, so great topic as it concerns so many on this list. I have often thought that there is something really genuine and pure about using one's given name for the work they do on their own or as a solo project. There is even something humble about it as if to say, 'here is my musick. no smoke, no mirrors, just the musick.' But then again, there is a certain attraction to using a project moniker to sort of continue a consistency with the Cagean 'taking the ego out of the product' kind of idea. When you use a project moniker it is possible to say that that is a name for the works themselves or a collective body of work and nevermind so much who the person is that did them. I'm just pointing out what I have thought are the pros of going either way, and my thought on either way to go does not imply a con of the other way. i.e. I don't mean that people who use their given name are egotistical, nor do I mean that people who use a moniker are inauthentic or not humble or just trying to wear a mask or something like that. I ultimately, after much introspective debating, chose to go with using a project moniker (Spagirus) rather than my given name. The ultimate deciding factor for me had nothing to do with any of my thoughts above. I just really like the word, and it fits my work and life so damn well, I just had to keep it. (If you want to know what the word means you can find it by scrolling down here http://www.angelfire.com/journal/cathbodua/EsodictS.html ). I think ultimately the decision of whether or not to use your given name or a project moniker will come down to what your sound art values are, or just to which one you like better. If you come up with that perfect moniker that for some reason no one else has picked up on and it fits your work so perfectly it seems like cosmic providence or something, then you will want to go with that. If you want to just go the 'be yourself' route with your work, then you will probably go with your given name. I think an interesting precedent on this issue is Hrvatski/Keith Fullerton Whitman (and possibly Keith's other monikers that I don't even know about). Both projects are good in their own way, but I think the KFW stuff is much more deep and interesting than the Hrvatski stuff, which makes me think he chose to use his given name for the stuff he takes REALLY seriously and that is closest to his heart. Just a guess, but examining the sound work of both Hrvatski and KFW and wondering why he chose to name each as he did would seem to provide some kind of insight on this topic.

Greg Elliott (since this is my given name, perhaps you can see why I chose to use a project moniker. perhaps if I'd been named Bernhard Guenter or Francisco Lopez, I would have gone with my real name.)

http://spagirus.ivdt.net


>
> hello .microsounders,
>
> Recently I've been struggling not with my creative music efforts, but
> with how to present them or, i guess, market them.
>
> I can intuitively feel that there are pro's and con's to presenting my
> music under my real name vs a stage name or "band" name, but am having
> a hard time articulating them well enough that I can figure out which
> route I'd like to go.
>
> Stuff like this always seems to distract me from the important thing,
> which is making good music, so I try not to think too hard about it.
> But then I end up with cds full of music and no real idea how to
> present them.
>
> Any ideas on this topic?
>
> Anthony
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
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From ???@??? Sun Oct  3 20:56:33 2004
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Date: Sun, 03 Oct 2004 22:56:14 +0200
From: Anton Weiss <xxxxxx@xxxxxxx.xx.xx>
Subject: [microsound] wacom tablet midi cotroller
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Hi, list

I remember reading somewhere once about using Wacom tablet as a midi
controller, but I cannot seem to find any app that would allow this.
Does anyone know about this?

Thanks

Ant



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From ???@??? Sun Oct  3 21:39:55 2004
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Hi anton. I've googled it up and have found a couple of  interesting things

µ MIDI Controller (Mac Os X)
http://www.musicunfolding.com/

a max external (Mac Os X)
http://www.lma.cnrs-mrs.fr/~IM/en_telecharger.htm

but i'd be really interested in something for Windows as well. anyone 
knows?





Anton Weiss wrote:

>Hi, list
>
>I remember reading somewhere once about using Wacom tablet as a midi
>controller, but I cannot seem to find any app that would allow this.
>Does anyone know about this?
>
>Thanks
>
>Ant
>  
>

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This is pretty interesting. A group dedicated to changing the way humans and machines interact with one another, in a way that is more natural for both the human and the machine. Its also in New York, which is a definite plus:
http://www.eiu.org/

                
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aufabwegen concert news:


05.10.2004, 20.00h

D.O.R. label night
--- motion & time ---

d.o.r. is a label focussing on dense and atmospheric electronic music that
dares to go beyond known limits. the label has brought us music by lull
(mick harris), zoviet france, black dog, auntie horror film and more. there
is a showcase cd compilation in the september issue of the magazine 'the
wire'.

live:
apollon (headbutt, id)
k&a (project d.a.r.k.)
nomadstation

visuals martin picton

kulturbunker muelheim
berliner str. 20
51063 cologne
http://www.kulturbunker-muelheim.de

----------------
07.10.2004, 20.00h

V I D N A  O B M A N A
::: dark droning ambient :::
&
j.frede/david brady/kadet kuhne
::: frequency manipulations, short wave stutter, crashed images :::

kulturbunker muelheim
berliner str. 20
51063 cologne
http://www.kulturbunker-muelheim.de

----------------------
08.10.2004, 20.00h

V I D N A  O B M A N A
::: dark droning ambient :::
&
j.frede/david brady/kadet kuhne
::: frequency manipulations, short wave stutter, crashed images :::
&
NJD
::: chaotic free noise improvisations :::

cuba
achtermannstr. 12
48143 muenster
http://www.geraeuschwelten.de
http://www.cuba-cultur.de
http://www.aufabwegen.com


see you there!

-----------------
a u f a b w e g en
magazine - label - mailorder
p.o.box 100152
50441 cologne
germany
fax.: 0221-2720056
http://www.aufabwegen.com

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From ???@??? Mon Oct  4 00:25:48 2004
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From: ale*** <xxxx@xxxxxxxxxxxxxx.xxx>
Subject: [microsound] video glitch
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A couple of days ago I was watching an avi file of Blade Runner, when, at a
certain point the video started skipping and glitching producing some
beautiful visuals. I took some stills and I uploaded them without any
retouch, I just resized 'em a bit.
http://www.pachinkostudio.com/mugen/archives/000074.html
Can you guys point me toward some good articles about video glitching,
use/abuse and tech aspects related to corrupted video streams?
Best,

ale***


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I've had good results playing DRM-encoded Windows Media Files with Mplayer 
or similar, which only supports non-DRM-encoded Windows Media files. The 
result is beautiful, both sonically and visually. Before accidentally 
deleting my hard drive, I was going to make a project using a DRM-encoded 
porn video I downloaded from some p2p network, as it looked and sounded 
when played with mplayer (or is it VideoLan? one of those open-source 
media players).

There may be some mention of glitching up video on the Yahoo databenders 
group. I know somebody a while ago was going to write a perl app that 
would convert an arbitrary data file into video. I think this has been 
abandoned, but I recall there is some uncommented perl code in the 
archives that could be hacked by someone else willing to make the effort.

P

> A couple of days ago I was watching an avi file of Blade Runner, when, at a
> certain point the video started skipping and glitching producing some
> beautiful visuals. I took some stills and I uploaded them without any
> retouch, I just resized 'em a bit.
> http://www.pachinkostudio.com/mugen/archives/000074.html
> Can you guys point me toward some good articles about video glitching,
> use/abuse and tech aspects related to corrupted video streams?
> Best,
>
> ale***
>
>
> ---------------------------------------------------------------------
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> 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
blog: http://pthomson.blogspot.com/
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 ???@??? Mon Oct  4 01:08:29 2004
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they look like mego or mille plautux album covers.................instant pimmon art
-t

-------------- Original message from "ale***" : -------------- 

> A couple of days ago I was watching an avi file of Blade Runner, when, at a 
> certain point the video started skipping and glitching producing some 
> beautiful visuals. I took some stills and I uploaded them without any 
> retouch, I just resized 'em a bit. 
> http://www.pachinkostudio.com/mugen/archives/000074.html 
> Can you guys point me toward some good articles about video glitching, 
> use/abuse and tech aspects related to corrupted video streams? 
> Best, 
> 
> ale*** 
> 
> 
> --------------------------------------------------------------------- 
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx 
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx 
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From ???@??? Mon Oct  4 01:36:34 2004
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From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: Re: [microsound] project names vs real names...
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Interesting topic!

I embraced the name Quiet American at the time I did my first field
recording compositions with an idea that my raw recordings would be
associated with just my name, and compositional work tied to a specific
project idea ~ partly because the oft-remarked oxymoronic aspect of the
name appealed to my language fetish, and I liked the book and its politics
so much; but also because I thought a clean break was nice between what I
could take credit for (composing) and just presenting (recordings).

I think it's nice to have the option of using different avatars for
different kinds of work -- about having work interpreted independent of
preconceptions based on a given [un]known name. And of course using
different project names avoids (cough) brand dilution when you try
something new...

Increasingly I find myself in a middle ground where my name (Aaron Ximm)
has a (extremely small) public life of its own, though, in relation to all
aspects of my work -- which is interesting as in my case it's also a
chosen identity of sorts. (Ximm is my wedding anniversary in roman
numerals, 10-1-2000, American style with month first).

On the other hand I agree that a "bare" name has overtones of humility and
directness that is very appealing. And seriousness ~ it's hard to escape
too that "real" (ie institutionally recognized) [plastic] artists and
composers traditionally just use their names, and rock and roll bands use
"cool names." Different traditions the former but ones some of us aspire
to, if not professionally or aesthetically, at least in the way the public
accords respect to those disciplines (for reasons we needn't argue about!
:) ).

Timely topic, I've been thinking about how I feel about Ximm growing in
respect to QA as a public face as my anniversary just came and went this
weekend ~ I found myself thinking, God help me if I should ever get
divorced! :)

 aaron

  xxxxx@xxxx.xxx
  http://www.quietamerican.org

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From ???@??? Mon Oct  4 01:52:11 2004
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From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: [microsound] poll is temporarily down
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hi

the poll is temporarily unavailable. as i suspected, the site was down
because of the new hardware. when they rebuilt the system, some
software libraries used by the poll code were missing.

i have requested that they get restored. once they are, and the poll is
operational, i will notify the list.

-- 
\js         ("'?\~`^$       <%=/~]-    &{http://or8.net/~johns %_= 

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From ???@??? Mon Oct  4 02:35:08 2004
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 FILETIME=[BFC18B00:01C4A9BA]

I would always lean toward using real names, and even calling all tracks 
'untitled'.

If an artist uses his or her real name (or a pseudonym which sounds 
plausibly 'real')  then there is no preset imagery attatched to their 
compositions. This frees the listener to experience the full piece 
unfiltered and uncompromised, and then contextualise it themselves.

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From ???@??? Mon Oct  4 03:00:43 2004
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I feel it is best to use your real name. When I see a CD with someone's 
actual name listed on it, I get a different set of expectations than if 
I see a CD with a name like "Bubbleotron" or "Rock Rock On" or whatever 
on it. I feel like I am more likely to be moved artistically and 
intellectually rather than just entertained.

That said, I just bought two CDs today by the artists "Tan As Fuck" and 
"U Can Unlearn Guitar"... If you're going to have a pseudonym, make 
sure its one that's good!

The only time I use a pseudonym (usually "Professor Ultimate") is when 
I release nonsense that I do not want related to my main body of work.

- John

On Oct 3, 2004, at 10:34 PM, bil bo wrote:

> I would always lean toward using real names, and even calling all 
> tracks 'untitled'.
>
> If an artist uses his or her real name (or a pseudonym which sounds 
> plausibly 'real')  then there is no preset imagery attatched to their 
> compositions. This frees the listener to experience the full piece 
> unfiltered and uncompromised, and then contextualise it themselves.
>
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From ???@??? Mon Oct  4 04:02:38 2004
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interesting topic.
people make good points on both sides.
in terms of my listening i buy music by folks who use project or group names
and their real names.
i have released music under project names and my own.
but these days my solo stuff is under my own name and
collaborations mostly under project names.
if the poetics of the project name fits the music
i love that.
if it doesn't well i will still buy it but
one example that matches the music for me is six organs of admittance
one that doesn't is jackie o mutherfucker
neither is the microsound realm
r
----- Original Message ----- 
From: "Aaron Ximm" <xxxxx@xxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, October 03, 2004 6:36 PM
Subject: Re: [microsound] project names vs real names...


> Interesting topic!
>
> I embraced the name Quiet American at the time I did my first field
> recording compositions with an idea that my raw recordings would be
> associated with just my name, and compositional work tied to a specific
> project idea ~ partly because the oft-remarked oxymoronic aspect of the
> name appealed to my language fetish, and I liked the book and its politics
> so much; but also because I thought a clean break was nice between what I
> could take credit for (composing) and just presenting (recordings).
>
> I think it's nice to have the option of using different avatars for
> different kinds of work -- about having work interpreted independent of
> preconceptions based on a given [un]known name. And of course using
> different project names avoids (cough) brand dilution when you try
> something new...
>
> Increasingly I find myself in a middle ground where my name (Aaron Ximm)
> has a (extremely small) public life of its own, though, in relation to all
> aspects of my work -- which is interesting as in my case it's also a
> chosen identity of sorts. (Ximm is my wedding anniversary in roman
> numerals, 10-1-2000, American style with month first).
>
> On the other hand I agree that a "bare" name has overtones of humility and
> directness that is very appealing. And seriousness ~ it's hard to escape
> too that "real" (ie institutionally recognized) [plastic] artists and
> composers traditionally just use their names, and rock and roll bands use
> "cool names." Different traditions the former but ones some of us aspire
> to, if not professionally or aesthetically, at least in the way the public
> accords respect to those disciplines (for reasons we needn't argue about!
> :) ).
>
> Timely topic, I've been thinking about how I feel about Ximm growing in
> respect to QA as a public face as my anniversary just came and went this
> weekend ~ I found myself thinking, God help me if I should ever get
> divorced! :)
>
> aaron
>
>  xxxxx@xxxx.xxx
>  http://www.quietamerican.org
>
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From ???@??? Mon Oct  4 06:39:13 2004
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those bladerunner stills are beautiful!

i have had some nice results playing highly-compressed
divx videos.  this is speculation, but i think that
since the compression is largely based on similarity
between frames (ie, not storing redundant information
from frame to frame), if i skip around between scenes
i get these strange, chunky, moving ghosts.  i've done
this in mplayer and quicktime.

tony at beflix.com has some lovely video glitches from
various sources.

-jake

--- Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx> wrote:

> 
> I've had good results playing DRM-encoded Windows
> Media Files with Mplayer 
> or similar, which only supports non-DRM-encoded
> Windows Media files. The 
> result is beautiful, both sonically and visually.
> Before accidentally 
> deleting my hard drive, I was going to make a
> project using a DRM-encoded 
> porn video I downloaded from some p2p network, as it
> looked and sounded 
> when played with mplayer (or is it VideoLan? one of
> those open-source 
> media players).
> 
> There may be some mention of glitching up video on
> the Yahoo databenders 
> group. I know somebody a while ago was going to
> write a perl app that 
> would convert an arbitrary data file into video. I
> think this has been 
> abandoned, but I recall there is some uncommented
> perl code in the 
> archives that could be hacked by someone else
> willing to make the effort.
> 
> P
> 
> > A couple of days ago I was watching an avi file of
> Blade Runner, when, at a
> > certain point the video started skipping and
> glitching producing some
> > beautiful visuals. I took some stills and I
> uploaded them without any
> > retouch, I just resized 'em a bit.
> >
>
http://www.pachinkostudio.com/mugen/archives/000074.html
> > Can you guys point me toward some good articles
> about video glitching,
> > use/abuse and tech aspects related to corrupted
> video streams?
> > Best,
> >
> > ale***


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From ???@??? Mon Oct  4 06:50:01 2004
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Subject: Re: [microsound] Experimental Interaction Unit
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I found this quite ironic:

http://eiu.org/experiments/i-bomb/info.html

Considering they're using technology to stop people using technology. 
And it only stops people taking electronic technology into the 
Technology Free Zone.  I could go and stand in the 'TFZ' with a trumpet 
blaring out a cacophony of deafening sounds, thus preventing direct  
human-human interaction...

These exhibits seem quite pessimistic, but interesting nevertheless.

On 3 Oct 2004, at 22:48, Andrew Thompson wrote:
> This is pretty interesting. A group dedicated to changing the way 
> humans and machines interact with one another, in a way that is more 
> natural for both the human and the machine. Its also in New York, 
> which is a definite plus:
> http://www.eiu.org/

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


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From ???@??? Mon Oct  4 09:47:49 2004
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> if i skip around between scenes
> i get these strange, chunky, moving ghosts.  i've done
> this in mplayer and quicktime.

Oh yes, DivX/XviD encoded movies (and even some liv streaming Real Video) 
that I guess have some errors in them can produce very strange things like 
faces that morphs into other objects or melts - sometimes over several 
seconds. But I guess it's very hard to make these errors behave predictable. 
I have tried this once or twice, like overloading the CPU while encoding a 
clip or simply open the video file in a hex editor and change a few values 
here and there. Either I saw nothing or the clip stopped working... : ) 


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From ???@??? Mon Oct  4 12:01:53 2004
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bil bo thinks;

> If an artist uses his or her real name (or a pseudonym which sounds
> plausibly 'real')  then there is no preset imagery attatched to their
> compositions. This frees the listener to experience the full piece
> unfiltered and uncompromised, and then contextualise it themselves.

For a first release and as compared to chosen names I certainly agree, but
surely this stops being true after the first few releases? For example; I´m
currently trying to finish a record. Once this hits the shops some people
will see it and asume it deals with a greay area between minimal techno and
soundtrack like material as my previously released material fell in that
field. There might be some who will hope it drifts in a more disco like area
as they might have heard I tend to engineer and produce for artists in that
field. At some point they´ll find it deals with purely synthetic experiments
that sound like strange acoustic instruments with strongly conceptual
composition methods.

I think that in all fairness we (or at least I) have to admit some of them
might very well be disapointed. From your perspective it would make sense to
go with some different name. However, I´m insisting on using my real name
because I feel this material is quite personal and I wish to identify it as
a comunication from me personally to my listener (asuming I have one) and by
extention the world. A bit like you wouldn´t sign love letters, contracts or
confessions with a asumed name, it´d feel wrong to sign this with a asumed
one.

At least that´s how i feel.

Yours,
Kas.




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From ???@??? Mon Oct  4 12:32:02 2004
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Date: Mon, 04 Oct 2004 14:32:31 +0200
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] video glitch
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jake elliott wrote:
> those bladerunner stills are beautiful!
> 
> i have had some nice results playing highly-compressed
> divx videos.  this is speculation, but i think that
> since the compression is largely based on similarity
> between frames (ie, not storing redundant information
> from frame to frame), if i skip around between scenes
> i get these strange, chunky, moving ghosts. 
That is right, destructive videocompression is based on storing 
keyframes and deltas. Try to skip/play backwards. I read a long while 
ago of a videoplugin which could create this artefacts in realtime and 
rather controllable but the name and source slipped me.

Cheers,

Malte

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

next events:
Elektronengehirn concert:
09.10. Astrastube, Hamburg, Germany
concert + DJ set with Xyramat:
10.10. Schilleroper, Hamburg, Germany
pure-data workshop
18.10-22.10 vivid, Birmingham, UK

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From ???@??? Mon Oct  4 14:16:18 2004
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Subject: [microsound] bladerunner stills, gl!tches
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allo, 

i have seemed to lost link in my hastily early morning
clearing of inbox. could somebody pls send it to me
offlist pls. ty. 

d.



                
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>For a first release and as compared to chosen names I certainly agree, but
>surely this stops being true after the first few releases?

i agree with that - once a namre has been floating around, no matter 
what it is, people make an association.  this is in fact the point of 
a brand name / trademark / service mark.


>However, I¥m insisting on using my real name
>because I feel this material is quite personal and I wish to identify it as
>a comunication from me personally to my listener (asuming I have one) and by
>extention the world. A bit like you wouldn¥t sign love letters, contracts or
>confessions with a asumed name, it¥d feel wrong to sign this with a asumed
>one.

yes, but not everyone has as cool a name as kassen!  ; )



d.

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From ???@??? Mon Oct  4 15:01:09 2004
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From: Kassen <xxxxxx@xxxxxx.xxxx.xx>
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chthonic streams writes;

> >For a first release and as compared to chosen names I certainly agree,
but
> >surely this stops being true after the first few releases?
>
> i agree with that - once a namre has been floating around, no matter
> what it is, people make an association.  this is in fact the point of
> a brand name / trademark / service mark.

Indeed. One thing I´ve been wondering about is why Panacea choose to use his
d&b on name his "Brazilia" cd on the Architectura series. It sounds exactly
like his M² work and I don´t imagine people into that post digital stuff see
his rather brutal and straightforward d&b work as a recomendation.

My guess is that it was the label´s choice because the Panacea name is much
better known. That too is a factor, I fear. It´s not a factor that´s
comfortable to admid and preferably it wouldn´t be there but it is and if
you want to sell some records you might need to take that stuff into
account.

> yes, but not everyone has as cool a name as kassen!  ; )

But I payed for it. It´s cool now, but having a name nobody ever heard is
less fun when you´re a kid. The other kids will look baffled for a second,
then look for the closest word they do know and schream that repeatedly on
top of the lungs. I never understood why but they do. Pros and cons, I
suppose, but when the cons are in the past it´s all fine. Thanks.

Yours,
Kas.



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From ???@??? Mon Oct  4 14:54:43 2004
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I agree with the notion that a project name gives a focus to the music
rather than the personality of the performer, but I think one should just
do what feels right.

I've already run into problems with the Archive moniker, which I use for
composed works while keeping my real name for installations, field
recordings, etc-- it's been the subject of some confusion recently.
Despite a very specific press kit, a weekly paper recently ran a full-page
article about my new Archive cd, but wrote about it as if I'd released it
under my own name, and the same thing happened with a radio feature a
couple of weeks later (no mention of the word "Archive" in either piece).
I guess another thing to keep in mind is that often one doesn't have the
control over one's nomenclature anyway... press is press though. I imagine
the word "archive" might be confusing for people.

mike hallenbeck
[ a r c h i v e ]
http://www.juniorbirdman.com/archive

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From ???@??? Mon Oct  4 14:07:11 2004
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Date: Mon, 04 Oct 2004 16:07:50 +0100
From: Noisejihad <xxxx@xxxxxxxxxx.xx>
Subject: [microsound] Invitation
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--Boundary_(ID_74Y+4OIEsLMYO5Zw+ooL7w)
Content-Type: text/plain; charset=iso-8859-1
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I've been assigned to make a "sound-cinema" during a month long kultural festival and would like to present some "advanced sounds". People will be able to listen to the music/noise/ambient/soundart through approximately 20 pairs of headphones (all of which are playing the same track) in a smaller box, built for the occasion. The box is on wheels, can seat approx. 20 people and plays CD/DVD/VHS, which means, if you have liveshows or "musicvideos" it is possible to have them screened.
If you're interested send material to me, use adress below.
deadline is 10/10 -2004. I do realize this is next sunday, but i'm not asking for specially composed material, merely great stuff from the drawers...
And if you're considering to send something, please drop me a line OFFLIST, using xxxx@xxxxxxxxxx.xx, so i know something will be in the mail.
And please note: only beat-less material will be taken in consideration.

Regards
Lars // Noisejihad.


Lars Hansen
Sjaellandsgade 128, 1
8000 Aarhus
Denmark

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
23rd August: Wäldchengarten - Uncomfortable Positions - mp3-ep on Fukk God >>> www.fukkgod.org
key to knowledge on danish noise >>> www.noisejihad.dk
"I'm not inspired. I'm provoked." Ned Cartledge
Cool artsite>>> www.ideations.dk
--Boundary_(ID_74Y+4OIEsLMYO5Zw+ooL7w)--

From ???@??? Mon Oct  4 15:40:24 2004
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Date: Mon, 04 Oct 2004 11:42:06 -0400
From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: [microsound] poll is back up
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hi

the poll is operational again.

-- 
\js     '} $@')>=|#http://or8.net/~johns ?'  ; "                ://

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From: Kassen <xxxxxx@xxxxxx.xxxx.xx>
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chthonic writes;

> i read an interview with paul lemos of controlled bleeding and he
> basically uses the name as, whatever he wants to do, he does it
> under that name.  they've been so many things over the years, from
> the ebm stuff on waxtrax! to dark ambient on soleilmoon to flat-out
> noise on their own label.  his opinion is, without the name, he has
> nothing to draw people in with.

Makes sense, but ebm, dark ambient and noise will have almost identical
crowds. everybody I know that´s into one of those is also into the others.
Panacea´s fan base is probably quite different from m²´s fanbase on the
other hand. I agree that you can always put your real name on anything you
do like Paul does as it´s always him, but Panacea has come to mean "hard d&b
with heavy basslines".

> true, but americans probably won't make such associations.
> since i have past associations with european names, i think
> aesthetically "kassen" sounds good, whatever it means.  the
> closest english written word would be some variation on
> "cassette", which is not a bad association for a musician.

I was told by my parents it´s ancient german for "big strong man" but never
was able to verify that. It would not have been unlike them to make
something like that up and be done with it and since they pased away we
might never know. I suppose it´s meaning depends on me now, just like the
meaning of "chthonic" in this context depends on you.

>
> is any of your music online?

http://kassen.mine.nu/tracks/index.html

Mostly relatively old and more techno inspired then what I do these days.

http://kassen.mine.nu/tracks/Kassen_Now.mp3

Is perhaps the most microsoundy thing there. It´s a remix of a local
hardcore band who rejected it as it´s not hardcore in the slightest and just
loops the guitar bit. Never do remixes without vocals if the vocalist in
question manages the label that wants it.

Yours,
Kas.



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From ???@??? Mon Oct  4 16:09:45 2004
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What about "Various Artists" then ?
 
S/
 
-----Message d'origine-----
De : xxxxxx@xxxxxxxxxxxxx.xxx [mailto:xxxxxx@xxxxxxxxxxxxx.xxx] 
 I imagine
the word "archive" might be confusing for people.
 
mike hallenbeck
[ a r c h i v e ]
http://www.juniorbirdman.com/archive
 
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From ???@??? Mon Oct  4 16:42:35 2004
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 bil bo, reacting to me;

> >A bit like you wouldn´t sign love letters, contracts or
> >confessions with a asumed name, it´d feel wrong to sign this with a
asumed
> >one.
>
> An assumed name?  All names are assumed- it is the very nature of
language.
> A pseudonym would be just as valid / self-representative as the name
chosen
> for you by your parents (or more so, as you would choose it yourself)

Let me rephrase that then as I agree on a conceptual level. It would feel
wrong to me to sign love letters or confessions with a name chosen by me.
Contracts and the people that want you to sign them tend not to think such
concerns matter and will demand your birth name.

While I agree with you on a conceptual level, I also think there is a lot to
be said for uniquely identifying names. For example, I imagine that if i
were to start posting from mailto:xxx_xx@xxxxxx.xxxx.xx this would displease
you and confuse others. I shouldn´t be alowed to buy houses claiming to be
Bill Gates either. More to the point here I´d by quite upset if the new
album marked Aphex Twin turned out to be by a local blues band as I´d buy
new Aphex albums on sight.

Semantics and their theory are great but in my own experience they can´t be
aplied to the real world withput some comon sense without running into
trouble.

Yours,
$NAME.

:¬)



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 FILETIME=[25709810:01C4AA2E]

>A bit like you wouldn´t sign love letters, contracts or
>confessions with a asumed name, it´d feel wrong to sign this with a asumed
>one.

An assumed name?  All names are assumed- it is the very nature of language. 
A pseudonym would be just as valid / self-representative as the name chosen 
for you by your parents (or more so, as you would choose it yourself)

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>> i read an interview with paul lemos of controlled bleeding and 
he
>> basically uses the name as, whatever he wants to do, he does 
it
>> under that name.  they've been so many things over the years, 
from
>> the ebm stuff on waxtrax! to dark ambient on soleilmoon to 
flat-out
>> noise on their own label.  his opinion is, without the name, he 
has
>> nothing to draw people in with.


>Makes sense, but ebm, dark ambient and noise will have almost 
identical
>crowds. everybody I know that´s into one of those is also into the 
others.

then you are lucky to know some semi-open-minded people.  
there are plenty of people i know who  never cross between noise  
and ebm.  one thinks the other is childish, silly dance junk and the 
other thinks the one is unlistenable and fascist

.
>Panacea´s fan base is probably quite different from m2´s 
fanbase on the
>other hand.

i don't see how the music between those two projects is more 
different than the difference between the genres we talked about 
above.  i can't recall panacea, while i did once own an m2 album, 
but to me they are both electronica/idm of some kind.  i may like 
one or the other, but not because of subgenre distinctions.  but i 
may be one of those people like the friends you describe.


>I suppose it´s meaning depends on me now, just like the
>meaning of "chthonic" in this context depends on you.

it just means underground or subterranean.  anything beyond that 
is whatever context one decides to associate with it.


d.


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From ???@??? Mon Oct  4 19:02:53 2004
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I have found, and some that I've talked to feel the
same way, that using a "fake" name, either the same
one all the time or differenet names for different
styles, afords a kind of freedom in creation. My
personal problem (and, yes, I'm working on it!) is
falling into stylistic ruts, becoming repetitious,
getting hung up trying to reconcile new directions
with my "body of work", etc. Like costumes or roll
play, pseudonyms allow (if not encourage) an escape
from oneself into something else, where (potentially)
one could be free from the pressures of expectations,
free to venture into new areas.

Other people have different reasons, sure.

--- John Nowak <xxxx@xxxxxxxxx.xxx> wrote:

> I feel it is best to use your real name. When I see
> a CD with someone's 
> actual name listed on it, I get a different set of
> expectations than if 
> I see a CD with a name like "Bubbleotron" or "Rock
> Rock On" or whatever 
> on it. I feel like I am more likely to be moved
> artistically and 
> intellectually rather than just entertained.
> 
> That said, I just bought two CDs today by the
> artists "Tan As Fuck" and 
> "U Can Unlearn Guitar"... If you're going to have a
> pseudonym, make 
> sure its one that's good!
> 
> The only time I use a pseudonym (usually "Professor
> Ultimate") is when 
> I release nonsense that I do not want related to my
> main body of work.
> 
> - John
> 
> On Oct 3, 2004, at 10:34 PM, bil bo wrote:
> 
> > I would always lean toward using real names, and
> even calling all 
> > tracks 'untitled'.
> >
> > If an artist uses his or her real name (or a
> pseudonym which sounds 
> > plausibly 'real')  then there is no preset imagery
> attatched to their 
> > compositions. This frees the listener to
> experience the full piece 
> > unfiltered and uncompromised, and then
> contextualise it themselves.
> >
> >
>
_________________________________________________________________
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> Messenger today! 
> > http://www.msn.co.uk/messenger
> >
> >
> >
>
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> >
> >
> >
> 
> 
>
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> 



                
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Date: Mon, 04 Oct 2004 21:01:06 +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

------------ELECTRONS LIBRES----------------------------
----POWERPLAY------------------------17H/18H----------------
----------------------------------------------------
NO SHOW....
SEE YA NEXT WEEK !!!

-----------------------------FUTUR (re)MIX--------------
------------POWERPLAY--------------------------13h/16h----------
----------------------------04/10/04-----------------------------
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-Mocky: Mickey Mouse Motherfucka (Four Music, V2)
    -Lp "Are+Be"
2-Moodymann: Forevernevermore (Peacefrog)
    -Lp "Forevernevermore"
3-Carol Williams: Can't get away (Sonar Kollectiv)
    -V/A "Jazzanova mixing"
4-Rednose Distrikt: NY Boom (Kindred Spirits, Rush Hour)
    -Lp "Iller Dan Je Ouders"
5-Domu:Fun no more (Loungin' recordings)
    -Ep "Worldwide"
6-Matthew Dear: Takes on you (Spectral, Ghostly)
    -Lp "Backstroke"
7-Substance: Monobox remix vol3 (Logistic)
    -Ep "Monobox remix 03"
8-Martini Bros: Pumpkin Jam mix (Karmarouge 08)
    -Ep "Vegetable remix vol1"
9-Brooks: Burning Buxx (Soundslike, Discograph)
    -Lp "Red Tape" release this week!!!
*****************************************************
----------------------ARNO N'JOY Mix------------------------
-------------Son emission N'joy sera sur Béton 1semaine/2---------
-------------All Wenesdays @ 20h/21h------------------------

1-Metro Area:Nerves (Environ 019)
2-Franz Ferdinand:Take me out [Morgan Geist remix]
3-Metro Area:Caught up (Environ)
4-Ralph Myers:Casino [Riton re-dub] (Emperor Norton)
5-Justin Martin:Sad Piano [Charles Webster mix] (Buzzin Fly 04)
6-Dirt Crew:Check this out (My Best Friend 05)
7-Chez Damier:You feel it (KMS 035)
8-Fred Everything: Close to you ft Juday Singer (20/20 vision 105)
9-Seelenluft:You come along (Klein 051)
10-Scissor Sisters:Comfortably Numb [Paper Faces remix] (Az)
11-Miss Kittin: Requiem for a hit (Abe Duque remix) (Labels)
12-Nutone:Breathless (Hospital 067)
13-Omni Trio:Time (Scale records 02)


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 ???@??? Mon Oct  4 19:21:27 2004
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Date: Mon, 04 Oct 2004 21:21:18 +0200
From: ale*** <xxxx@xxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] bladerunner stills, gl!tches
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http://www.pachinkostudio.com/mugen/archives/000074.html

ale***

----- Original Message ----- 
From: "Verlorene_Ursache" <xxxxxxxxxxxxxxxxxxxxxxx@xxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, October 04, 2004 4:16 PM
Subject: [microsound] bladerunner stills, gl!tches 


> allo, 
> 
> i have seemed to lost link in my hastily early morning
> clearing of inbox. could somebody pls send it to me
> offlist pls. ty. 
> 
> d.
> 
> 
> 
> 
> _______________________________
> Do you Yahoo!?
> Declare Yourself - Register online to vote today!
> http://vote.yahoo.com
> 
> ---------------------------------------------------------------------
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> 

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From ???@??? Mon Oct  4 19:50:35 2004
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From: th_ost <xxxxxx@xxx.xxx>
Subject: Re: [microsound] project names vs real names...
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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> Semantics and their theory are great but in my own experience they can´t
be
> aplied to the real world withput some comon sense without running into
> trouble.

they could be, if we all would agree on doing so... it's only because most
people are not willing to go beyond what they learned in primary school....
that said, i am running into trouble all the time, when "personalising"
language in conversation...

pope myself 3.

°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
http://www.skug.at/

>> necro'phon'i'con (from Greek: Necros- dead, phon- sound, icon -picture,
representation; the book of dead sounds, or the image of dead sounds) a
standard reference work for the acoustic oddities of pulp-occultist lore.
made mostly from fragments of killed sounds, a franken- meets
wittgenstein-ian creation playing duelling banjos with all dsp available but
no banjos....
°°°°°



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From ???@??? Mon Oct  4 19:55:21 2004
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another aspect (that may have been mentioned - sorry, i've come late to this 
thread) is anonimity.  i originally chose to record under a 'project' name 
as i didn't see attaching my name/ego directly to the music i was making as 
important or helpful, the same way i choose not to put a picture of myself 
on a record sleeve.  of course, any assumed name becomes as much a reference 
to an individual as his/her given name, but that extra step of removal was 
appealing to me - helping tocreate an element of  'it doesn't matter who i 
am, only what i've made.'

patrick 



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 Well, yes, I should've mentioned that I was looking for a Windows utility.


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From ???@??? Mon Oct  4 20:42:56 2004
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http://whatcaughtmyeye.blogspot.com/

/björn



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From ???@??? Mon Oct  4 21:15:15 2004
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From: xxxxxxxxxxxx@xxx.xxx
Subject: [microsound] TOP10-PLAYLIST: Blevin Blectum, Ema de Angelis, ENT,
 Glass Box, MB, Miba, Omb...
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Hi list,
 
A new streamable top 10 playlist is available _here_ 
(http://xstreamradio.free.fr/topten.htm)  at _XStreamRadioWebcast_ (http://xstreamradio.free.fr/)  !
 
In no particular order, except alphabetical order:
 
+
 
Artist : Blevin Blectum   (United States) 
Title : Last  Track  (Magic Maple) 
Label : Praemedia   (United States)  

Artist : Emanuela de Angelis   (Italy) 
Title :  Contours  (MP3 Release) 
Label : EdA   (Italy) 

Artist : ENT   (Italy) 
Title : Beating Cherry Nipples   (Fuck Work) 
Label : (Not released yet) 

Artist : Glass  Box   (United States) 
Title : Spaceprobe V3.1 (10+11)   (Spaceprobe V3.1) 
Label : Umamidisc   (United States) 

Artist : Maurizio Bianchi   (Italy) 
Title : A-Cycle  (Kookogaku)  (Cycles) 
Label : EEs'T   (Italy) 

Artist : Miba   (United States) 
Title : Until Something  Bigger...  (The Corplate Porblem) 
Label : Pax Recordings    (United States) 

Artist : Omb   (Japan) 
Title :  (006)  (Oral/Method) 
Label : Flyrec   (Japan) 

Artist : PEI   (Taiwan) 
Title : Nois-5into  (Ipatti)  
Label : Post-Concrete   (USA/Taiwan/China) 

Artist :  Resina   (Italy) 
Title : Mundo Taku  (Opinio Omnium)  
Label : Mousikelab   (Italy) 

Artist : Yasushi  Miura   (Japan) 
Title : (2)  (Spin 5930) 
Label :  Karidome   (Japan) 

+
 
Blevin Blectum:
"Magic Maple" is the 3rd solo release by Blevin Blectum  (formerly of Blectum 
From Blechdom and currently a member of Sagan). This album  picks up where 
the acclaimed "Talon Slalom" left off. Prog-rock fantasy gone  wrong in a purely 
audio medium.
 
Emanuela de Angelis:
Emanuela de Angelis (formerly of Mou, Lips!) has  recently started a solo 
project under her own name. Her music, which  materializes into dark electronic 
ambient drones, is like a poetic and cinematic  exploration into obscure 
territories. Emanuela is currently working on a new  webmagazine, bit_per_knowledge, 
whose first issue will come out soon. She also  contributed to the recent 
"Sonic Scope : Portable Edition" compilation cd,  published by Grain of Sound.
 
ENT:
ENT is an italian duo formed by Emanuele Bortoluzzi and Michele  Scariot. 
Their music, which is made with electronic, acoustic and electric  instruments, 
could be described as a magical encounter between glitch pop and  free 
improvisation. Their latest demo-cd called "Fuck Work" is a great mix of  many 
different elements of sound fused together and structured in a very  progressive way.
 
Glass Box:
Since 1988, Glass Box writes and performs experimental music  utilizing 
conventional as well as homemade instruments, found sounds, tape  manipulation and 
any other manner of sound conveyance to produce their pieces.  Ambient, 
electro-acoustic, spoken word, noise/drone are the key words behind  these enigmatic 
artists.
 
Maurizio Bianchi:
Maurizio Bianchi (aka MB) has been a key figure in the  development of 
experimental electronic music since the late 80's; he is  considered as a pioneer in 
the noise and industrial music genre. After a long  hiatus of almost 14 
years, Bianchi returned to music in 1998, starting a series  of works dominated by 
religious and philosophical themes. "Cycles", one of his  latest records to 
date, is a combination of hypnotic and ambient loops.
 
Miba:
Miba is Mark Bartscher and Kristin Miltner, from San Francisco.  They make 
music with bells, voices, computers, trees, self-created software  patches, 
birds and cats, creating rhythmic granular textures ranging from  harmonic washes 
to dense noise, hypnotized by the spirits of Pauline Oliveros,  Maggi Payne, 
and Alvin Curran.
 
Omb:
Equally utlizing complex computer progamming and unintentional  mistakes, Omb 
creates everchanging cute and emotional tracks. Clicks, error  noises, sine 
waves, transformed samples and field recordings intertwine and  separate, while 
minimal electronic phrases provide uplifting melodies.
 
PEI:
Encompassing everything from microsound to digital noise, the music  of PEI 
is a dizzying kaleidoscope of experimental electronica. Despite being  from 
Taipei, PEI composed the most part of her first full-length "Ipatti" during  a 
residency in Sydney, Australia.
 
Resina:
Resina is the result of the meeting between Marco Messina and  Retina.It. 
Their sound, though essentially electronic, has an analogic soul,  with a dirty 
and lively approach in making their tracks. Intelligent dance music  supported 
by obsessive and hypnotic rhythms, with echoes of tribal mantras  coming out.
 
Yasushi Miura:
Yasushi Miura comes from Tokyo and self-release his  records on his own 
Karidome label. His music is a nervous, joyful, and playful  deviant techno with 
loads of things happening everywhere, all set against a  pounding beat.

+
 
Credits for texts:

_http://blevin.lsr1.com/pressMaple.html_ 
(http://blevin.lsr1.com/pressMaple.html) 
_http://www.soundclick.com/bands/2/glassbox.htm_ 
(http://www.soundclick.com/bands/2/glassbox.htm) 
_http://www.scaruffi.com/avant/bianchi.html_ 
(http://www.scaruffi.com/avant/bianchi.html) 
_http://www.flyrec.com/en/release/oral.html_ 
(http://www.flyrec.com/en/release/oral.html) 
_http://www.allmusic.com/cg/amg.dll?p=amg&uid=UIDMISS70312080834132336&sql=Anr
7m96bokep8_ 
(http://www.allmusic.com/cg/amg.dll?p=amg&uid=UIDMISS70312080834132336&sql=Anr7m96bokep8) 
_http://www.staalplaat.com/vital_archive/422.txt_ 
(http://www.staalplaat.com/vital_archive/422.txt) 
_http://www.mousikelab.it/resinaenglish.htm_ 
(http://www.mousikelab.it/resinaenglish.htm) 

+
 
Thank you,
 
[ _http://xstreamradio.free.fr_ (http://xstreamradio.free.fr)  ]
[ Now  playing: Experimental and Electronic music  ]
--Boundary_(ID_2IeSUgHFf8ELjigLoLAtCQ)--

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On Tue, 05 Oct 2004 05:05, Kassen wrote:

> I was told by my parents it´s ancient german for "big strong man" but
> never was able to verify that. It would not have been unlike them to
> make something like that up and be done with it and since they pased
> away we might never know.

I don't want to dissapoint you, but basically "Kassen" is the plural of 
"Kasse" in German which means checkout/till/cash box.

Cheers,

Niklas
--
Computer Music PhD-student
University of Waikato
Hamilton
New Zealand

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(MICROSOUNDERS: one last chance at hearing our Mutek gig, in case you 
missed it! )



THINKBOX on BRAVE NEW WAVES:
CBC Radio Two 00h05 - 04h00
Broadcast date: October 8th, 2004

....presentation of concert performance from Mutek, North America's 
premier experimental electronic music festival
....recorded Jun 2004 at S.A.T. in Montreal ( http://www.sat.qc.ca )
....performing order: 1- Mark Laliberte; 2- Christopher Bissonnette; 
3- Rob Theakston; 4- Bill Van Loo; 5- Steve Roy; 6- Chris McNamara; 
7- Thinkbox (collective improv).


ABOUT THINKBOX   |   http://www.thinkbox.ca
Founded at the end of the 1990s, Thinkbox is a multimedia collective 
whose interests lie in the exploration and the development of the new 
modalities of audiovisual diffusion in the context of live 
performances. The collective is comprised of six members who reside 
on both sides of the Canadian-American border, dividing their time 
between Windsor and Detroit. Thinkbox was recently selected as one of 
URB Magazine's "Next 100 Artists for 2004". Collective and/or solo 
member performances have occurred in the past year at the following 
venues and festivals: Movement (Detroit's Electronic Music Festival), 
USA / Cranbrook Museum of Art, USA / New Maps Festival, Montreal / 
Deep Wireless Festival, Toronto / Vancouver New Music's Dangerous 
Currents Festival / and The Ann Arbor Film Festival, USA.

ABOUT THINKBOX @ MUTEK 2004   |   http://www.mutek.ca
While they remain a close-knit group, Thinkbox appreciates diversity. 
With the free reign given to them by MUTEK, the collective presented 
a series of solo performances that culminated with a full ensemble 
collaboration. Their presentation strategies vary: certain pieces 
were microtonal in nature, others more cinematographically and 
musically oriented, while others revolved around electro-acoustic 
structures built upon field-recording passages, generating minimalist 
moments throughout a powerful, definitive rhythm. The results 
combined the cerebral, the visceral, the organic and the power of 
digital.  For images of T/B @ the festival, see... 
http://www.thinkbox.ca/events/2004-mutek/


ABOUT BRAVE NEW WAVES    |   http://www.bravenewwaves.ca
BNW is dedicated to new underground music. This could mean anything 
from indie rock to dance, experimental electronic and avantgardisms 
of every shape. We include the widest universe of genres possible 
every single night. The essential rhythm of BNW includes profiles 
(extended discography/ biography), interviews (filmmakers, composers, 
cartoonists, bands, regional correspondents), and occasionally our 
own BNW sessions. BNW can be heard across Canada, or live on the 
internet.... for information on various streams (Real Player, etc), 
please see:  http://www.bravenewwaves.ca/audio.shtml
--Boundary_(ID_AHjp3TydxU+x2wBL6VRBfg)--

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On Oct 4, 2004, at 12:05 PM, Kassen wrote:

> chthonic writes;
>
>> i read an interview with paul lemos of controlled bleeding and he
>> basically uses the name as, whatever he wants to do, he does it
>> under that name.  they've been so many things over the years, from
>> the ebm stuff on waxtrax! to dark ambient on soleilmoon to flat-out
>> noise on their own label.  his opinion is, without the name, he has
>> nothing to draw people in with.
>
> Makes sense, but ebm, dark ambient and noise will have almost identical
> crowds. everybody I know that´s into one of those is also into the 
> others.

So all Merzbow aficionados love Wumpscut? Christ, spare me!

I am insulted.

- John Nowak


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From ???@??? Mon Oct  4 23:34:03 2004
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 John Nowak complains;

> So all Merzbow aficionados love Wumpscut? Christ, spare me!
>
> I am insulted.

Feel free to feel insulted if you want to be, but I did not write that. I
said that the people I know that like one of those styles also like the
others. This implies a strong correlation (at least from my own coloured
perspective), not that they will like any speciffic artist in those styles.
In fact they´ll dislike many artists in those styles and of other composers
like only specific albums or even tracks. By extention I think that those
styles have some overlap in which it´s debatable what field any speciffic
recording falls into. At least I think there is more overlap between those
styles and hard d&b v.s. post digital clicky experiments but clearly that
opinion is not shared by all.

I wouldn´t have been insulted if somebody had claimed what you preceived me
to claim, merely surprised. Luckily I did not claim this.

Yours,
Kas.



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In a message dated 05/10/2004 00:12:23 GMT Daylight Time, xxxx@xxxxxxxxx.xxx 
writes:

> So all Merzbow aficionados love Wumpscut? Christ, spare me!
> 
> I am insulted.
> 

  the term "noise" in the us doesnt mean noise, it  has tended to mean bad 
disco with distorted beats and angry pointless vocals.





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

www.alembic.me.uk

--Boundary_(ID_kakxe18vYnlfo2TvdctYZw)--

From ???@??? Mon Oct  4 23:39:02 2004
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Niklas Werner notes, reacting to me;

>
> > I was told by my parents its ancient german for "big strong man" but
> > never was able to verify that. It would not have been unlike them to
> > make something like that up and be done with it and since they pased
> > away we might never know.
>
> I don't want to dissapoint you, but basically "Kassen" is the plural of
> "Kasse" in German which means checkout/till/cash box.

I knew that, I saw what companies were competing with me for the top spot in
google for that search. Presumably ancient German, as opposed to modern
German, did not deal with cash registers so I still have some hope.

Aparently it´s also Swedish for "small plastic bag" or something along those
lines and it´s Dutch for "greenhouses". I´ll live.

Cheers,
Kas.



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Exactly. There is a healthy overlap between noise, industrial, ebm, 
idm, power electronics, microsound, ambient, jungle, gabber, synthpop, 
and death metal, but it's rare than anyone likes all of those genres.

On Oct 4, 2004, at 7:05 PM, John Nowak wrote:
>>
>> Makes sense, but ebm, dark ambient and noise will have almost 
>> identical
>> crowds. everybody I know that´s into one of those is also into the 
>> others.
>
> So all Merzbow aficionados love Wumpscut? Christ, spare me!
>
> I am insulted.


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>angry pointless vocals.
-So nothing has changed actually...

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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---------- Original Message ----------------------------------
From: xxxxxxx@xxx.xxx
Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Date: Mon, 4 Oct 2004 19:14:11 EDT

>--part1_45.17b36f1d.2e933343_boundary
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>In a message dated 05/10/2004 00:12:23 GMT Daylight Time, 
xxxx@xxxxxxxxx.xxx 
>writes:
>
>> So all Merzbow aficionados love Wumpscut? Christ, spare me!
>> 
>> I am insulted.
>> 
>
>  the term "noise" in the us doesnt mean noise, it  has tended to 
mean bad 
>disco with distorted beats and angry pointless vocals.


no, you'ere thinking of "industrial".  here, "noise" means "noise".  
u.s. industrial (read: ebm) people know what noise is, they just 
don't necessarily like it.

d.

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On Oct 4, 2004, at 7:14 PM, xxxxxxx@xxx.xxx wrote:

> In a message dated 05/10/2004 00:12:23 GMT Daylight Time, 
> xxxx@xxxxxxxxx.xxx
> writes:
>
>> So all Merzbow aficionados love Wumpscut? Christ, spare me!
>>
>> I am insulted.
>>
>
>   the term "noise" in the us doesnt mean noise, it  has tended to mean 
> bad
> disco with distorted beats and angry pointless vocals.

I live in the US, and I've never heard the term "noise" used to 
describe any sort of distorted beats nonsense. Usually that has a 
stupid name like "noisecore" or "breakcore" or something else with 
"core".

- John


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From ???@??? Tue Oct  5 00:09:36 2004
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There's an overlap between microsound and death metal?

- John

On Oct 4, 2004, at 7:17 PM, Anthony Saunders wrote:

> Exactly. There is a healthy overlap between noise, industrial, ebm, 
> idm, power electronics, microsound, ambient, jungle, gabber, synthpop, 
> and death metal, but it's rare than anyone likes all of those genres.


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On Oct 4, 2004, at 7:09 PM, Kassen wrote:

>  John Nowak complains;
>
>> So all Merzbow aficionados love Wumpscut? Christ, spare me!
>>
>> I am insulted.
>
> Feel free to feel insulted if you want to be, but I did not write that.

I was just interjecting a bit of nonsense.

- John


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---------- Original Message ----------------------------------
From: John Nowak <xxxx@xxxxxxxxx.xxx>
Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Date: Mon, 4 Oct 2004 20:02:46 -0400

>There's an overlap between microsound and death metal?

well, i don't think he meant that per se; more of a series of 
overlaps that could eventually link the tastes of people who like 
those styles.  but yes, i have both senking and morbid angel in my 
collection. 

i can't say there's much jungle or gabber i like, unless you count 
kid606 and aphex twin.

d.


>On Oct 4, 2004, at 7:17 PM, Anthony Saunders wrote:
>
>> Exactly. There is a healthy overlap between noise, industrial, 
ebm, 
>> idm, power electronics, microsound, ambient, jungle, gabber, 
synthpop, 
>> and death metal, but it's rare than anyone likes all of those 
genres.
>
>
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>

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>I live in the US, and I've never heard the term "noise" used to 
>describe any sort of distorted beats nonsense. Usually that has a 
>stupid name like "noisecore" or "breakcore" or something else 
with 
>"core".

i hear the term "rhythmic noise" applied to artists on ant-zen and 
the like.  "breakcore" tends to be a bit less harsh/noisy than those 
artists.  i know it's kinds of splitting hairs but there is a difference of 
both sound and intent between these artists, whether you like their 
music or not.

d.

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yup, like myself. I picked a variety of genres, where a fan of one is 
likely to enjoy another, but that there would be other genres that the 
overlap is less likely.

Lots of harsh noise fans like gabber, jungle, death metal and 
industrial. Lots of noise fans also love microsound, ambient, and idm.

On Oct 4, 2004, at 8:02 PM, John Nowak wrote:

> There's an overlap between microsound and death metal?
>
> - John
>
> On Oct 4, 2004, at 7:17 PM, Anthony Saunders wrote:
>
>> Exactly. There is a healthy overlap between noise, industrial, ebm, 
>> idm, power electronics, microsound, ambient, jungle, gabber, 
>> synthpop, and death metal, but it's rare than anyone likes all of 
>> those genres.
>
>
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From ???@??? Tue Oct  5 01:13:33 2004
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Sheesh, how did I forget. My band is an overlap between microsound and 
death metal.

I present some examples:
http://www.overwhelmed.org/dataclast/audio/7july28.mp3 (boardgames of 
canada: glitched out grindcore)
http://www.overwhelmed.org/anthony/audio/dc-beahuman.mp3
http://www.overwhelmed.org/anthony/audio/dc-boredofcnn.mp3 (granular 
vocal processing at end of song)
http://www.overwhelmed.org/dataclast/audio/rateofinterest.mp3 (granular 
processing at start of song)

all synth, all drum machine grindcore. these songs are three or four 
years old.

Anthony


On Oct 4, 2004, at 8:50 PM, Anthony Saunders wrote:
>
>
> On Oct 4, 2004, at 8:02 PM, John Nowak wrote:
>
>> There's an overlap between microsound and death metal?
>>
>> - John


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Hi all-

A bit of an experiment, but I thought I might take a chance:

I've recently enjoyed reading James Harley's book on Iannis Xenakis

<http://www.amazon.com/exec/obidos/tg/detail/-/0415971454/qid=1096938840
/sr=1-1/ref=sr_1_1/102-9213846-5719358?v=glance&s=books>

which analyzes the breadth of his creative output.  It's really a unique
view of Xenakis that takes a couple of steps back from the detail of
_Formalized Music_ and enables one to take in the span of his life's
work.

Trouble is, the book is an $85 hardback, and I was only able to get it
thanks to interlibrary loan.  Clearly, the dread Taylor and Francis
Group (Routledge) is thinking solely of the library market.

Now the privatization of specialized knowledge by locking it up in
academic libraries is a whole topic in and of itself, but what I might
request is:

I'm emailing their special sales person in Canada, Pamela Robinson, to
suggest that I, and others like me, would be interested in purchasing
this book in the $17-25 price range in paperback.

If you think you might, please email her as well.  Please don't use my
$$$ range as a yardstick, put in whatever price you might think is fair.
Certainly it might be hard for you to know whether you'd actually want
this book without browsing it (don't hold your breath at B&N), but I'm
curious what kind of a response would be generated by 10-25 (or more)
emails showing up on this subject.

Her address is:

<xxxxxxxxx@xxxxxxxxxxxxxxxx.xxx>

....and if you feel like it, blind copy the list.

Best,

Tad


<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Tue Oct  5 01:56:49 2004
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FORWARDED MESSAGE

=======================

Ms. Robinson-

I recently enjoyed reading James Harley's book _Xenakis, His Life and
Music_ which is published by Routledge (ISBN: 0415971454).  I got my
copy through inter-library loan at CUNY from the University of New
Hampshire Library.

I considered purchasing a copy, but when I looked the work up on Amazon,
I was shocked to find it costs $85.  I'm assuming you don't have a lot
of confidence in its sales potential and are looking solely to a library
market.

As a student interested in music of the 20th century, and knowing others
who have similar interests, I can't help but think Routledge could do
quite well with a paperback edition in a mid-teens to low-twenty dollar
price tag.

Written work on Xenakis is very hard to find considering the interest in
his life and work.  I should think a treatment of broad scope such as
James Harley's would find an abundance of eager readers.

Best,

Charles Turner

<xxxxxxxx@xxxxxxxxx.xxx>

=======================


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From ???@??? Tue Oct  5 03:08:09 2004
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Subject: [microsound] Random or Algorithmic Music Genrators
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--Boundary_(ID_FTqVl8OXjnVdpHNFYUrPYQ)
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Hello is there anyone here that collects random or algorithmic music  
generators? 
I like to find one that supports Musical forms such as rondo ,A-B-C,  
Rhapsody Ect.. 
It must be able to save or export the songs As Midi Files. 
I already have fractalmusic2000 and all of Paul Whalley Programs prefer  
Freeware or on the cheap $50 or less. thanks for any And All help 
Mg3Nc .  
--Boundary_(ID_FTqVl8OXjnVdpHNFYUrPYQ)--

From ???@??? Tue Oct  5 03:20:33 2004
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--- John Nowak <xxxx@xxxxxxxxx.xxx> wrote:
There's an overlap between microsound and death metal?

and

I live in the US, and I've never heard the term "noise" used to 
describe any sort of distorted beats nonsense. Usually that has a 
stupid name like "noisecore" or "breakcore" or something else with 
"core".

- John



Well, there is the overlap between microsound and speed metal where Francisco Lopez used recordings of his friend's speed metal band rehearsing as source material (apparantly Francisco Lopez at least really likes speed and death metal, and I myself have to admit a certain nostalgia for it at times). Not that that makes for a genre overlap, but it's interesting anyway. 

As far as the american idea of noise, the way I understand it from hearing about it from others, is that there is a distinction between noise (merzbow, Le Syndicat, Nautical Almanac, etc.) and 'powernoise', which is the ant zen kind of simplified but heavy beat based industrial stuff with the ocassional blast of 'noise' here and there. And I think most americans would make this distinction except for old people who grew up on swing who think that all music that isn't swing or classical is 'noise', but that's a whole other story.

Greg

http://spagirus.ivdt.net



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On Oct 4, 2004, at 11:40 PM, Gregory Elliott wrote:

> Well, there is the overlap between microsound and speed metal where 
> Francisco Lopez used recordings of his friend's speed metal band 
> rehearsing as source material (apparantly Francisco Lopez at least 
> really likes speed and death metal, and I myself have to admit a 
> certain nostalgia for it at times). Not that that makes for a genre 
> overlap, but it's interesting anyway.

Indeed, I've used samples of Slayer in my works. I've also used samples 
of Britney Spears and MC Hammer though...

> As far as the american idea of noise, the way I understand it from 
> hearing about it from others, is that there is a distinction between 
> noise (merzbow, Le Syndicat, Nautical Almanac, etc.) and 'powernoise', 
> which is the ant zen kind of simplified but heavy beat based 
> industrial stuff

There are a lot of "wall of noise" acts I'd consider powernoise, mostly 
from the US. I'm not in touch with it though, as powernoise is too much 
nonsense and showmanship and pissing contestish for my tastes, so I 
can't name names. I've always called the ant-zen stuff hard techno or 
something like that... after all, it really is just noisy, crap techno 
(redundant, I know).

I love Cock ESP.

- John


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From ???@??? Tue Oct  5 05:10:13 2004
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>>As far as the american idea of noise, the way I understand it from 
>>hearing about it from others, is that there is a distinction 
>>between noise (merzbow, Le Syndicat, Nautical Almanac, etc.) and 
>>'powernoise', which is the ant zen kind of simplified but heavy 
>>beat based industrial stuff
>
>There are a lot of "wall of noise" acts I'd consider powernoise, 
>mostly from the US. I'm not in touch with it though, as powernoise 
>is too much nonsense and showmanship and pissing contestish for my 
>tastes, so I can't name names. I've always called the ant-zen stuff 
>hard techno or something like that... after all, it really is just 
>noisy, crap techno (redundant, I know).

while many have unfortunately gotten kind of pedestrian, some of the 
a-z artists have more to them than that.  converter and morgenstern 
overlap into noiseambient and powernoise.

i understood powernoise and power electronics to be pretty much the 
same thing, all derived from whitehouse and the more extreme TG 
tracks.  lots of screaming over loud analog gear pushed to its limits 
and/or distorted beyond belief.  people like con-dom, bloodyminded, 
and slogun.


d.

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On Oct 5, 2004, at 1:24 AM, chthonic streams wrote:

> i understood powernoise and power electronics to be pretty much the 
> same thing, all derived from whitehouse and the more extreme TG 
> tracks.  lots of screaming over loud analog gear pushed to its limits 
> and/or distorted beyond belief.  people like con-dom, bloodyminded, 
> and slogun.
>

I on the other hand was under the impression that "power noise" and 
"power electronics" were very different. PE being Whitehouse, Sutcliffe 
Jugend, Genocide Organ, Con-Dom, Grey Wolves, Taint, Grunt, Slogun, 
etc, and PN being Ant-Zen style rhythmic noise.

Anthony
who prefers japanese style harsh noise, especially the incredible work 
of Kazumoto Endo


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From: urkuma urkuma <xxxxxxx@xxxxx.xx>
Subject: [microsound] =?iso-8859-1?q?Finisterrae=92s=20Cronotopo?=
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--Boundary_(ID_1OZuGVkFEctWHnqngcNLSA)
Content-Type: text/plain; charset=iso-8859-1
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Finisterrae’s Cronotopo
 
The Cronotopos is defined by Mikhail Bakhtin (writer 1934\1985) "a time-space", that is a kind of interconnection, through that it is possible to describe, at the same time, an historical and imaginary time and space.
PLEO and URKUMA choose to take as reference Murray Schaffer's soundscapes, recording 30 seconds of sound every 5 kilometers along Salento's coast, from T.Castiglione(Jonic coast) to Casalabate(Adriatic coast).
185 kilometers were scoured and "recorded" , from 9.36 a.m. to 7.20 p.m. in 28.06.2004; passing trough "finisterrae's coast", which was considered the border-land of the south-east of Italy.
The listener can live again the sonic exploration of PLEO and URKUMA recordings. Every sample is assembled obtaining a single track, made by "fade-in and fade-out" technique.
It is a "sonic-safari" through nature, buildings, streets, pre-recorded bells, aqueduct, dogs, voices…silence. 
http://www.quantize-records.com/mapping/cronotopo.html
 
 
 
ciao
 
Pleo & Urkuma





                                
---------------------------------
Scopri Mister Yahoo! -  il fantatorneo sul calcio di Yahoo! Sport'
--Boundary_(ID_1OZuGVkFEctWHnqngcNLSA)--

From ???@??? Tue Oct  5 08:46:05 2004
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urkuma urkuma wrote:

> Finisterrae’s Cronotopo
>  
> 

fantastic!

james





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From ???@??? Tue Oct  5 09:59:57 2004
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try using the [gemtablet] object in Pure Data/GEM. it will give you raw 
numbers of position, pression, azimuth, orientation, etc of the
pen without problem. you can do the conversion to midi yourself at that 
point.

d.

Anton Weiss wrote:
>  Well, yes, I should've mentioned that I was looking for a Windows utility.



-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 192:
"Your mistake was a hidden intention"

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From ???@??? Tue Oct  5 12:14:35 2004
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great piece, very well presented.
i like the map-visualisation,
rather simple, but fantastic.

thanx for sharing this,

hidarius

°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
http://www.skug.at/

>> necro'phon'i'con (from Greek: Necros- dead, phon- sound, icon -picture,
representation; the book of dead sounds, or the image of dead sounds) a
standard reference work for the acoustic oddities of pulp-occultist lore.
made mostly from fragments of killed sounds, a franken- meets
wittgenstein-ian creation playing duelling banjos with all dsp available but
no banjos....
°°°°°



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On Oct 5, 2004, at 1:24 AM, chthonic streams wrote:

>
>>> As far as the american idea of noise, the way I understand it from 
>>> hearing about it from others, is that there is a distinction between 
>>> noise (merzbow, Le Syndicat, Nautical Almanac, etc.) and 
>>> 'powernoise', which is the ant zen kind of simplified but heavy beat 
>>> based industrial stuff
>>
>> There are a lot of "wall of noise" acts I'd consider powernoise, 
>> mostly from the US. I'm not in touch with it though, as powernoise is 
>> too much nonsense and showmanship and pissing contestish for my 
>> tastes, so I can't name names. I've always called the ant-zen stuff 
>> hard techno or something like that... after all, it really is just 
>> noisy, crap techno (redundant, I know).
>
> while many have unfortunately gotten kind of pedestrian, some of the 
> a-z artists have more to them than that.  converter and morgenstern 
> overlap into noiseambient and powernoise.
>
> i understood powernoise and power electronics to be pretty much the 
> same thing, all derived from whitehouse and the more extreme TG 
> tracks.  lots of screaming over loud analog gear pushed to its limits 
> and/or distorted beyond belief.  people like con-dom, bloodyminded, 
> and slogun.

Yes, Slogun is who I was trying to think of.

Indeed I have both Converter and Slogun t-shirts from a few years 
back... :-)

- John


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From ???@??? Tue Oct  5 13:21:55 2004
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Subject: Re: [microsound] =?UNKNOWN?Q?Finisterrae=92s?= Cronotopo
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i'm thinking if something similar was attempted in the
states, all you'd get would be the passing of cars.
and police sirens. 

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From ???@??? Tue Oct  5 16:47:41 2004
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Date: Tue, 05 Oct 2004 10:48:38 -0600
From: devslashnull <xxx@xxxxxxx.xxx>
Subject: Re: [microsound] wacom tablet midi cotroller
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Laurie Spiegel made something called "Music Mouse" back in 1985 I think.

It can be dl'd here: http://retiary.org/ls/programs.html

It works on Mac, Amiga, and Atari systems.

I have an old 18X24 Summagraphics tablet connected to a Mac SE running 
Music Mouse. It belches out plenty of MIDI data that I can record, or 
use live for controlling other audio and video hardware, and software.

dev(out)

CommTom
Communications of Tomorrow
"it's only a day away"

unique electronic music for the adventurous ear.

http://www.commtom.com
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From ???@??? Tue Oct  5 17:34:59 2004
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Subject: [microsound] Contents Onda Sonora 06/10/2004
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Radio Círculo de Bellas Artes -Miércoles/Wednesday
15h- www.circulobellasartes.com 

Escucha en directo a cualquier hora / Listen Live real
time: www.ondasonoraradio.com

CONTENIDOS ONDA SONORA 06/10/2004

Especial EXPERIMENTACLUB 04

Programa especial dedicado a ExperimentaClub 2004, el
festival de música experimental que se celebra a
partir de hoy y hasta el domingo en La Casa Encendida
de Madrid, en el que nos vemos inevitablemente
involucrados, y encantados de estarlo, porque hemos
sido invitados a realizar una singular sesión de hora
y media este domingo 10 de octubre a partir de las 6
de la tarde

Special program dedicated to ExperimentaClub 2004, the
festival of experimental music that takes place
starting from today and until Sunday at La Casa
Encendida in Madrid, in which we see inevitably
involved, and charmed of being, as we've been invited
to carry out a singular hour and a half session this
Sunday October 10th, starting from 6 in the afternoon

01. SO 

Track: 3 

Album: So 

Label: Thrill Jockey

Comenzamos pues con algunos de los contenidos del
festival, por orden de aparición, escuchando lo que
podremos ver esta tarde. Este es uno de los 10 cortes
sin nombre incluidos en un disco editado el año pasado
por el sello Thrill Jockey: el debut de So, proyecto
conjunto de Markus Popp (de Oval, Microstoria) y la
japonesa Eriko Toyoda, creado en 2002 a partir de la
revisión y deconstrucción de una amplia colección de
canciones grabadas anteriormente por ella en Japón.
Para sus actuaciones en directo, como la de esta tarde
en ExperimentaClub, a partir de las 19.30h , utilizan
un equipo especialmente diseñado por ellos mismos

Some of the contents of the festival, in their
appearance order from this afternoon. This is one of
the 10 tracks without name included in a cd released
last year by the Thrill Jockey label: the debut of So,
combined project of Markus Popp (of Oval, Microstoria)
and the Japanese Eriko Toyoda, created in 2002
starting from the revision and deconstrucción of a
wide collection of songs recorded previously by her in
Japan. For their live performances, as this afternoon
in ExperimentaClub, starting from 19.30h, they use
equipment specially designed by themselves

02. STRAND 

Track: Soy Petroleo, soy La Muerte 

Album: Paz 

Label: Foehn

El madrileño Miguel Gil Tertre, Strand, con una de las
canciones de su álbum Paz, editado el año pasado por
Foehn Records. Un artista cuyas obras parten de la
manipulación de sonidos, explorando las posibilidades
del software sobre instrumentos reales, en búsqueda de
la emoción. Strand sin embargo no actuará solo esta
tarde en ExperimentaClub, a partir de las 20.30h, sino
con varios músicos colaboradores: 3 en los scratches y
la presencia especial del dúo de improvisación
Kompoloi, con piano y cello, junto a la voz de Paloma
Sosa de Abner y Kodama Nuzzle

Miguel Gil Tertre, Strand, from Madrid, with one of
the songs of his album Peace, released last year by
Foehn Records. An artist whose works rest of the
manipulation of sounds, exploring the possibilities of
the software over real instruments, in search of
musical emotion. Strand however won't act alone this
afternoon in ExperimentaClub, starting from 20.30h,
but with several collaborating musicians: 3 in the
scratches and the special presence of the
improvisation duet Kompoloi, with piano and cello,
next to the voice of Paloma Sosa of Abner and Kodama
Nuzzle

03. NOVA HUTA 

Track: Deutsche Filmmusik 

Album: Mutek 02 

Label: Mutek_Rec Records

Continuamos con Nova Huta, alias artístico de Günter
Reznicek, un subversivo personaje procedente de la
ciudad alemana de Hamburgo, entorno del que también
proceden algunos de sus amigos como Felix Kubin y
Gunter Adler. Nova Huta es, desde 1998, la personal
propuesta electro-pop de Reznicek, investigador
también en otros campos como la música concreta desde
los años 80. Su actuación de esta noche a las 21.15h
en Experimentaclub'04 será la primera en nuestro país,
en esta ocasión presentando su nuevo disco, "Here
Comes My Seltsam Voice" (editado en el sello portugués
Variz). Además, a partir de las 22h, podremos ver
también a Jason Forrest, alias Donna Summer

We continue with Nova Huta, artistic moniker of Günter
Reznicek, a subversive character coming from the
German city of Hamburg, environment from which some of
their friends also proceed, like Felix Kubin and
Gunter Adler. Nova Huta is, from 1998, the personal
electro-pop proposal of Reznicek, investigator also in
other fields as the music concréte from the 80s. His
performance tonight at 21.15h in Experimentaclub'04
will be the first in Spain, in this occasion
presenting his new record, "Here Comes My Seltsam
Voice" (released in the Portuguese label Varix). Also,
starting from 22h o'clock, we can see Jason Forrest,
alias Donna Summer

04. FENNESZ 

Track: Circassian 

Album: Venice 

Label: Touch

La música del austríaco Christian Fennesz, guitarrista
e investigador sonoro conceptual, creador de complejos
entramados digitales de sonido procesado que
desarrollan texturas melódicas y distorsionadas a
partes iguales. Su último trabajo, Venice, es
posiblemente también el más introspectivo de su
carrera. Fennesz actúa el jueves 7 a las 19.30h en el
auditorio de La Casa Encendida

The music of the Austrian artist Christian Fennesz,
guitarist and conceptual sound investigator, creator
of complex digital lattices of processed sound that
develop melodic and distorted textures. His last work,
Venice, is possibly also the most introspective in his
career. Fennesz's appearance will take place on
Thursday 7th at 19.30h in the auditory

05. MANUAL (WITH JESS KAHR) 

Track: Always Alone 

Album: The North Shore 

Label: Darla

El danés Jonas Munk, un artista del siglo XXI dedicado
al pop electrónico de bella factura, tanto en
solitario con su alias Manual como con su grupo Limp.
En su último disco, The North Shore, al que pertenece
este corte que escuchamos, colabora de hecho Jess
Kahr, uno de sus compañeros en Limp. Sin embargo Munk
llegará solo a Madrid para actuar en ExperimentaClub
04, mañana 7 de octubre a las 21.15h

The Danish Jonas Munk, an artist of the 21st century
dedicated to electronic pop music of beautiful
execution, so much in solitary with his alias Manual
as with his group Limp. In his last record, The North
Shore, collaborates Jess Kahr, in fact one of his
partners in Limp. However Munk will arrive alone to
Madrid to act in ExperimentaClub 04, October 7th at
21.15h

06. KREIDLER 

Track: Clockwerk 

Album: Eve Future 

Label: Wonder 

Una formación nacida en 1994 en Dusseldorf, al oeste
de Alemania, con unas coordenadas cercanas al
post-rock minimalista y al pop electrónico. Se trata
de Kreidler, cuarteto reconvertido en trío tras la
deserción de Stefan Schneider, con cuatro discos en
los últimos 8 años cada vez más cerca de un paisajismo
ambiental de corte cinematográfico. Defenderán su
propuesta en ExperimentaClub mañana jueves a partir de
las 22h en el patio de LCE, un día en el que también
podemos disfrutar de los sonidos de la barcelonesa Eli
Gras y las visuales de Stan Brakhage, Lillian Schwartz
y Jean Painlevé

A formation born in 1994 in Dusseldorf, western
Germany, with coordinates somehow near to minimalist
post-rock and electronic pop music: Kreidler, a
quartet turned into a trio after Stefan Schneider's
desertion, with four albums in the last 8 years, each
time nearer from a cinematographic soundscapism. They
will defend their proposal in ExperimentaClub on
Thursday, starting from 22h in the patio of LCE, in a
day in which we can also enjoy the sounds of Eli Gras
from Barcelona and the visuals of Stan Brakhage,
Lillian Schwartz and Jean Painlevé

07. CHRIS CLARK 

Track: Empty the Bones of You 

Album: Empty the Bones of You 

Label: Warp

Pasamos ahora a repasar las actuaciones del viernes 8
de octubre, comenzando por el británico Chris Clark,
uno de los nuevos valores del panorama electrónico
reciente que cuenta con el apoyo de la en otros
tiempos poderosa compañía Warp Records, cuya actuación
está programada para las 19.30h. acompañada por
visuales a cargo de Matt Burden

The performances of Friday 8 of October, beginning
with the British Chris Clark, one of the new values of
the recent electronic panorama, that has the support
of the another time powerful company Warp Records,
whose performance is programmed for 19.30h.
accompanied by Matt Burden's visual support

08. PABLO RECHE 

Track: Constelacion 1 

Album: Constelacion 

Label: Conv

Otro de los invitados a la edición 2004 de
ExperimentaClub, el argentino Pablo Reche, que destaca
por la utilización personal que hace del ruido como
elemento expresivo, partiendo de grabaciones de campo,
sintetizadores y radios de onda corta que después
procesa y ordena para construir obras como esta que
suena, una de las piezas incluídas en su disco
Constelación, editado hace 4 años y recientemente
re-editado por el netlabel Conv. Pablo Reche actuará
el viernes después de la barcelonesa y Io Casino,
acompañada por el videojockey Edrok, miembro del
colectivo Rotok, a partir de las 21.15h en la Sala 2
de LCE

Another of the guests in the current edition of
ExperimentaClub, the Argentinean Pablo Reche that
highlights for the personal use that makes of the
noise as an expressive element, starting from field
recordings, synthesizers and short wave radio that
later he processes and orders to build works like
this, one of the included pieces in his Constellation
cd, published 4 years ago and recently re-released by
the Conv netlabel. Pablo Reche will perform on Friday
after the Barcelonese Io Casino, accompanied by the
videojockey Edrok, member of the collective Rotok,
starting from 21.15h in the Room 2 at LCE

09. FAUST / DÄLEK 

Track: Collected Twighlight 

Album: Derbe Respect, Alder 

Label: Staubgold

Tras los sonidos de Pablo reche, continuamos con
Faust, una banda mítica del krautrock alemán que viene
trabajando desde principios de los 70, explorando el
collage sonoro y desarrollando un rock caótico y
revolucionario de tintes industriales, si bien
abiertos a todo tipo de propuestas: como la que
escuchamos, junto a un trío norteamericano de hip-hop
llamado Dälek, para el disco de colaboración entre
ambos publicado hace unos meses por el sello Staubgold

After the sounds of Pablo reche, we continue with
Faust, a mythical band of the German krautrock that
comes working from the beginning of the 70s, exploring
the sound collage and developing a chaotic and
revolutionary rock of industrial tints, although open
to all type of proposals: as this one, together with a
North American hip-hop trio called Dälek, for a
collaborative record released some months ago by the
Staubgold label

10. FAUST 

Track: Eroberung Der Stille: teil 2 

Album: Rien 

Label: Table Of The Elements

Faust actuarán en el marco del ExperimentaClub este
mismo 8 de octubre a las 22h, cerrando la programación
del viernes en un concierto muy especial por
convertirse en una de las escasas y seleccionadas
ocasiones en que se los puede ver en directo.
Escuchamos uno de los cortes incluídos en su álbum
Rien, publicado originalmente en 1994 y hace poco
reeditado por el sello Table of the Elements, una
versión maquinal y fantasmagórica de la Sinfonía nº 3
de Gorecki

Faust will perform in the ExperimentaClub festival on
October 8th at 22h, closing the programming of Friday
in a very special concert for becoming one of the
scarce and selected occasions in which it is possible
to see them live. We listen to one of the cuts
included in their album "Rien", released originally in
1994 and recently reissued by the Table of the
Elements label, a mechanical and phantasmagoric
version of Gorecki's Symphony nº 3

11. DAVID SHEA 

Track: 8 Scenes For Computer 

Album: Classic Works 2 

Label: Tzadik 

El sábado, a partir de las 19.30h, actúa otro de los
grandes nombres invitados a esta edición de
ExperimentaClub: el norteamericano David Shea, un
explorador de las tradiciones clásicas de oriente y
occidente e investigador de la performance, la danza,
la improvisación y la música electrónica, grabando
junto a artistas como John Zorn y en sellos como Sub
Rosa. Escuchamos uno de los cortes de su último disco,
en el sello Tzadik: Classic Works II, una colección de
pasajes de música de cámara basados en el uso del
sampler, como en este 8 Scenes for Computer

On Saturday, starting from 19.30h, another big name
invited to this edition of ExperimentaClub: the North
American David Shea, an explorer of the classic
traditions of east and occident and a investigator of
the performance, the dance, the improvisation and the
electronic music, recording next to artists like John
Zorn and in labels as Sub Rosa. We listen to one of
the tracks in his last record, in the Tzadik label:
Classic Works II, a collection of passages of chamber
music based on the use of the sampler, like in this "8
Scenes for Computer"

12. THE EVOLUTION CONTROL COMMITTEE

Track: The Fucking Moon 

Album: Plagiarhythm Nation v2.0 

Label: Seeland / Ecc

Una interesante propuesta para el sábado a las 21.15h
es la del estadounidense Mark Gunderson, The Evolution
Control Committee, que actúa con una especie de
aparatosos guantes desde los que maneja un equipo que
dispara muestras de audio procedentes de las más
diversas grabaciones cualquiera que sea su origen, al
modo que actúan otros apropiacionistas como People
Like Us o Negativland sin guantes pero también con un
subversivo sentido del humor, sobre todo en estos
últimos tiempos con las polémicas leyes anti-copyright

An interesting proposal for Saturday at 21.15h is that
of the American Mark Gunderson, The Evolution Control
Committee, that performs with a kind of a spectacular
gloves from whose he manages some equipment that
shoots audio samples coming from the most diverse
recordings whichever it is its origin, in the way that
other apropiationists like People Like Us or
Negativland act -without gloves but also with a
subversive sense of humor, mainly in these last times
with the polemic anti-copyright laws

13. TUXEDOMOON 

Track: Here Till X-mas 

Album: Cabin In The Sky 

Label: Crammed

Las actuaciones del sábado acaban con el concierto de
otro grupo de culto creado hace 27 años en San
Francisco, Tuxedomoon, que retornan este 2004 tras
varios años de inactividad con un concierto total
convertido en espectáculo multimedia. Eso será a las
22h, cerrando un día en el que también podremos
escuchar a las francesas Les Moines Fréres y a
DJitter, Darío Moratilla, como dj, además de
contemplar varios trabajos visuales, entre ellos el de
Takagi Masakatsu. Para el domingo quedan las
actuaciones de César Manrique de Radio 3 y el alemán
Felix Kubin, ambos como djs, en una tarde musical que
abre César Pradíes, Dj Onda Sonora, con una sesión
especial de hora y media en la que podrás escuchar
algunos de los sonidos más interesantes que han pasado
por este programa en los últimos meses

The performances for Saturday end with the concert of
another cult band that was created 27 years ago in San
Francisco, Tuxedomoon, that return this 2004 after
several years of inactivity with a total concert
transformed into a multimedia show. That will be at
22h, closing one day in which we will also listen to
the French Les Moines Fréres and to DJitter, Darío
Moratilla, as dj, beside contemplating several visual
works, among them Takagi Masakatsu's. For Sunday there
are some more performances of Diego Manrique of Radio
3 and the German Félix Kubin, both as djs, in a
musical afternoon that will be opened by Cesar
Pradíes, Dj Onda Sonora, with a special session an
hour and a half long, in which we will listen some of
the most interesting sounds that filled this program
in the last months

______

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From ???@??? Tue Oct  5 19:58:18 2004
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holy shit.
I come from Michigan, and I was kind of surprised to hear talk from the 
low-key microsound board about power electronics-style noise, which is the sort of 
stuff we listen to around here.
I don't really know where to begin here to tell you what it's like musically 
with this stuff.
In Michigan we have Wolf Eyes and the American Tapes label which despite what 
any of you laptoppers think remains great. We also have Animal Disguise run 
by Mammal with Viki and Hair Police and a bunch of other people on it. And 
there's a bunch of smaller labels around here too, I don't want to have to list 
them.
Over in Minneapolis is the Freedom From label (http://www.freedom-from.com/) 
with a bunch of stuff on it, a lot of it isn't noise but a lot of it is. If 
you go to their links page you will find a bunch of labels that have noisyness 
on them, you probably haven't heard of a lot of it.
Then of course there's Providence RI, from which comes the Load records label 
(http://www.loadrecords.com/). This label houses a good synthesis of noise 
and metal, with people like Lightning Bolt, Nautical Almanac, and Metalux 
holding court. And Fort Thunder was from Providence too, which is important. 

Uh, that's where most American power electronics seems to be coming from 
these days, so go check it out.
bill
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for the love of god, one more genre with "core" at the end of it and i'll scream...

if you're wondering, when people ask me what kind of music i make, i tell em scrap-pop.
hyphenates seem to be a little less irritating to me.

anybody wanna help invent "core-core?"  
--Boundary_(ID_ZEFC2P0uT4ARVVAObmq2ng)--

From ???@??? Tue Oct  5 21:47:57 2004
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From: monotonaut <xxxxxxxxxx@xxxxx.xx>
Subject: [microsound] BROKEN SLEEP winter european tour..looking for gigs
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January 25 - February 7 2005
mp3 links- http://freewebs.com/brokensleep
contact- monotonaut at yahoo dot ca

Broken Sleep is the dark, abstract dronescape project
of Colin Hendry. He was a founding member of the
now-defunct Mediacore collective, which organized
"low-brow" experimental and hardcore electronic music
events in Vancouver, Canada. His "glitchcomassault"
often also includes lo-fi analogue field recordings.
He has opened for artists such as Pan Sonic,
Synapscape, Crank Sturgeon, Dev79, and Dave Phillips.
This will be his third small European tour and second
as "Broken Sleep". The name has sonic and symbolic
meaning, and is a common experience for this graveyard
shift worker.

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

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

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From ???@??? Tue Oct  5 22:12:22 2004
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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] video glitch
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nice.  one of my secrets is hooking up two digital vcrs, the player on
fastforward or rewind and the other one just recording the output.  the
results are great, depending on the source material... then you take it to the
next level by using the record tape as the play tape, and so forth forever and
ever and ever...

graham.

ale*** wrote:

> A couple of days ago I was watching an avi file of Blade Runner, when, at a
> certain point the video started skipping and glitching producing some
> beautiful visuals. I took some stills and I uploaded them without any
> retouch, I just resized 'em a bit.
> http://www.pachinkostudio.com/mugen/archives/000074.html
> Can you guys point me toward some good articles about video glitching,
> use/abuse and tech aspects related to corrupted video streams?
> Best,
>
> ale***
>
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From ???@??? Tue Oct  5 22:38:47 2004
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Subject: [microsound] AC.17 - Chicago 10/10/04 - Jon Muller + Steve Hess,
 Jason Soliday
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crossposted...

AC.17 

Please join us for the fall series of AC events. These
performances feature improvised electroacoustic music
in a comfortable, intimate setting, designed to
encourage active listening.

We have relocated so please take note of the new
address.

10/10/04, Sunday, 7pm:
_Jon Muller and Steven Hess
_Jason Soliday

Since this is a private residence, you *must* RSVP to
attend.
Show starts at 7pm.
Free, donations welcome.
Refreshments provided.

The Den
1349 N. Washtenaw #1F
Chicago IL 60622

Please e-mail xxxxxxxx@xxxxx.xxx or call 773.394.2906
for an RSVP or for more information. 

Other dates in this series: 10/24, 11/7 and 11/21,
with more details to follow.

v'





        
                
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From ???@??? Tue Oct  5 22:39:28 2004
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Date: Tue, 05 Oct 2004 18:38:51 -0400
From: John Nowak <xxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] powernoise
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Thanks for the information! A little power electronics will keep you 
from going insane when surrounded by a bunch of academic nonsense all 
the time.

(Not that all academic music is nonsense.)

- John

On Oct 5, 2004, at 3:58 PM, xxxxxxxx@xxx.xxx wrote:

> holy shit.
> I come from Michigan, and I was kind of surprised to hear talk from the
> low-key microsound board about power electronics-style noise, which is 
> the sort of
> stuff we listen to around here.
> I don't really know where to begin here to tell you what it's like 
> musically
> with this stuff.
> In Michigan we have Wolf Eyes and the American Tapes label which 
> despite what
> any of you laptoppers think remains great. We also have Animal 
> Disguise run
> by Mammal with Viki and Hair Police and a bunch of other people on it. 
> And
> there's a bunch of smaller labels around here too, I don't want to 
> have to list
> them.
> Over in Minneapolis is the Freedom From label 
> (http://www.freedom-from.com/)
> with a bunch of stuff on it, a lot of it isn't noise but a lot of it 
> is. If
> you go to their links page you will find a bunch of labels that have 
> noisyness
> on them, you probably haven't heard of a lot of it.
> Then of course there's Providence RI, from which comes the Load 
> records label
> (http://www.loadrecords.com/). This label houses a good synthesis of 
> noise
> and metal, with people like Lightning Bolt, Nautical Almanac, and 
> Metalux
> holding court. And Fort Thunder was from Providence too, which is 
> important.
>
> Uh, that's where most American power electronics seems to be coming 
> from
> these days, so go check it out.
> bill


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On Oct 5, 2004, at 5:07 PM, Jeffrey Matz wrote:

> when people ask me what kind of music i make, i tell em scrap-pop.

When people ask me, I tell them they don't want to know.

- John


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> anybody wanna help invent "core-core?"

FWIW the Norwegian spootcore band ArtSkool has been adding a core 
suffix to most of their songs for about a decade, genres like like 
foamcore, grannycore, every song a unique genre.  Sometimes they also 
add trendy lefty terminology, you know, issue manifestos, agit 
propagate, add "-ista" to nouns ending in an "n"

http://zuzula.com/artist.php?id=47


> There's an overlap between microsound and death metal?

There's always what I'd consider a sort of "bad boy" posture -  to 
embrace what's considered extremely  "out" especially if you are in a 
scene that makes claims to pushing boundaries and exploring the 
extremes, etc.


nicholas d. kent


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On Mon, 4 Oct 2004 23:07:38 EDT
xxxxxx@xxx.xxx wrote:

>  
> Hello is there anyone here that collects random or algorithmic music  
> generators? 
> I like to find one that supports Musical forms such as rondo ,A-B-C,  
> Rhapsody Ect.. 
> It must be able to save or export the songs As Midi Files. 
> I already have fractalmusic2000 and all of Paul Whalley Programs
> prefer  Freeware or on the cheap $50 or less. thanks for any And All
> help Mg3Nc .  

Hi,

I've got quite a collection that I backed-up to CD from when I used to
run Windows. I'm not sure about structural detail like rondo etc.,
though. I'll take a look on the CD & see what I've got.

Another avenue worth exploring is to install the superb Atari ST
emulator STeem (or XSteem for Linux), which opens up a whole new
universe of fractal/algorithmic apps.

I'll write more when I've looked at what I have.

Gavin.


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From ???@??? Wed Oct  6 01:26:18 2004
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Subject: Re: [microsound] microsound vs death metal
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 FILETIME=[4DEC0B10:01C4AB43]

Very enjoyable.  Brings back memories when I played in an industrial grind 
band called DEADpool.

Ritchie
http://ninja.at/play
      __o            __o
  _ `\<,_         _`\<,_
(_) / (_)       (_)/  (_)



> Sheesh, how did I forget. My band is an overlap between microsound and
> death metal.
>
> I present some examples:
> http://www.overwhelmed.org/dataclast/audio/7july28.mp3 (boardgames of
> canada: glitched out grindcore)
> http://www.overwhelmed.org/anthony/audio/dc-beahuman.mp3
> http://www.overwhelmed.org/anthony/audio/dc-boredofcnn.mp3 (granular
> vocal processing at end of song)
> http://www.overwhelmed.org/dataclast/audio/rateofinterest.mp3 (granular
> processing at start of song)
>
> all synth, all drum machine grindcore. these songs are three or four
> years old.
>
> Anthony

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From ???@??? Wed Oct  6 01:44:18 2004
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yeah, especialy like GCTT CATT - amperase album cover on mego


> they look like mego or mille plautux album covers.................instant
pimmon art





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From ???@??? Wed Oct  6 01:46:15 2004
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Date: Tue, 05 Oct 2004 21:49:18 -0400
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Subject: Re: [microsound] microsound vs death metal
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funny - in toronto i was going to see some lame laptop crap on the third
floor of this club (books on tape - ick). the second floor had some death
metal group. bored to tears with the  nerd techno upstairs i ventured down to
the second level and dived into the trenched with the goths (essentially
nerds of another kind). they growled at me. the 16th note machine gun fire
double kick drum rhythms kill me. dropped guitar tunings like no tomorrow. so
great i couldn't wipe the smile off my face. i'm a novice here. it was such a
joyous experience. i'm not sure if laughing was the intended result but it
killed me. i thought it was great. so evil it's hilarious. way more joy than
the pretension upstairs. that's what always gets me about NIN and dark heavy
stuff (techno included)... if it's so evil why does it make me so happy?

g.

Ritchie wrote:

> Very enjoyable.  Brings back memories when I played in an industrial grind
> band called DEADpool.
>
> Ritchie
> http://ninja.at/play
>       __o            __o
>   _ `\<,_         _`\<,_
> (_) / (_)       (_)/  (_)
>
> > Sheesh, how did I forget. My band is an overlap between microsound and
> > death metal.
> >
> > I present some examples:
> > http://www.overwhelmed.org/dataclast/audio/7july28.mp3 (boardgames of
> > canada: glitched out grindcore)
> > http://www.overwhelmed.org/anthony/audio/dc-beahuman.mp3
> > http://www.overwhelmed.org/anthony/audio/dc-boredofcnn.mp3 (granular
> > vocal processing at end of song)
> > http://www.overwhelmed.org/dataclast/audio/rateofinterest.mp3 (granular
> > processing at start of song)
> >
> > all synth, all drum machine grindcore. these songs are three or four
> > years old.
> >
> > Anthony
>
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From ???@??? Wed Oct  6 01:58:48 2004
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kevin drumm's recent works "sheer hellish miasma", "frozen by blizzard
winds", "land of lurches", "impish tyrant", reflect his interest in extreme
death metal bands, such as havohej...
imhofwiw



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From ???@??? Wed Oct  6 02:38:53 2004
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on 10/5/04 9:49 PM, graham miller at xxxxxxxxxxxx@xxxxxxxxx.xx wrote:

> funny - in toronto i was going to see some lame laptop crap on the third
> floor of this club (books on tape - ick). the second floor had some death
> metal group. bored to tears with the  nerd techno upstairs i ventured down to
> the second level and dived into the trenched with the goths (essentially
> nerds of another kind). they growled at me. the 16th note machine gun fire
> double kick drum rhythms kill me. dropped guitar tunings like no tomorrow. so
> great i couldn't wipe the smile off my face. i'm a novice here. it was such a
> joyous experience. i'm not sure if laughing was the intended result but it
> killed me. i thought it was great. so evil it's hilarious. way more joy than
> the pretension upstairs. that's what always gets me about NIN and dark heavy
> stuff (techno included)... if it's so evil why does it make me so happy?
> 
> g.
> 
> Ritchie wrote:
> 
>> Very enjoyable.  Brings back memories when I played in an industrial grind
>> band called DEADpool.
>> 
>> Ritchie
>> http://ninja.at/play
>> __o            __o
>> _ `\<,_         _`\<,_
>> (_) / (_)       (_)/  (_)
>> 
>>> Sheesh, how did I forget. My band is an overlap between microsound and
>>> death metal.
>>> 
>>> I present some examples:
>>> http://www.overwhelmed.org/dataclast/audio/7july28.mp3 (boardgames of
>>> canada: glitched out grindcore)
>>> http://www.overwhelmed.org/anthony/audio/dc-beahuman.mp3
>>> http://www.overwhelmed.org/anthony/audio/dc-boredofcnn.mp3 (granular
>>> vocal processing at end of song)
>>> http://www.overwhelmed.org/dataclast/audio/rateofinterest.mp3 (granular
>>> processing at start of song)
>>> 
>>> all synth, all drum machine grindcore. these songs are three or four
>>> years old.
>>> 
>>> Anthony
>> 
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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> 
> 
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> 


ever heard, sad songs make sad people happy?


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From ???@??? Wed Oct  6 02:55:02 2004
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>

not sure if sad and dark are the same thing. why do people love blade runner so?
jean-pierre jeunet? anne rice? there is beauty in darkness. and while i have never
heard that quote, it's very nice... even though i don't consider myself sad. at
least anymore. i do love anger though. i wish there was more in microsound. punk
is a beautiful expression of the human condition.  there's bit of punk in all
things great.

g.


>
> >
>
> ever heard, sad songs make sad people happy?
>
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From ???@??? Wed Oct  6 03:28:11 2004
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Date: Tue, 05 Oct 2004 20:27:57 -0700
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] RE: Random or Algorithmic Music Genrators
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could someone start a TWiki page with links for AlgoMus generators?
KIM


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From ???@??? Wed Oct  6 03:40:21 2004
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I am much in favor of sludge metal, stuff like Eyehategod, Melvins, Cavity, 
Boris, Earth, Sabbath. Good to see some talk about noise, keeps things 
interesting. Drumm is great if you have not listened, his cd comedy is a 
good one and the one with Dorner on erstwhile is excellent.

Scott Allison

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From ???@??? Wed Oct  6 05:41:12 2004
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haha HAVOHEJ!!!! "I vomit on god's child!"

Never anticipated seeing them mentioned on this list!

"Frozen By Blizzard Winds" sounds like an Immortal song title...

Anthony
metalhead and microsounder

On Oct 5, 2004, at 9:57 PM, <xxxxxxxxxx@xxxxxxx.xxx> wrote:

> kevin drumm's recent works "sheer hellish miasma", "frozen by blizzard
> winds", "land of lurches", "impish tyrant", reflect his interest in 
> extreme
> death metal bands, such as havohej...
> imhofwiw


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Two "metal" artists who have definitely crossed into
the "experimental" (whatever that means) world, and at
times exist at these boudaries are James Plotkin and
Mick (MJ) Harris.

Harris was for a while associted with extreme metal
outfit Napalm Death (cited in one interview as a fave
of F. Lopez). His Scorn project brought this dark
intensity to a techno/dub sorta thang and the Lull
moniker is purely intense throbbing drone.
Collaborations with Bill Laswell and james Plotkin
have also brought him into slowed down ambient
territory. (Napalm Death is rumored to have released
an LP with--so it is claimed--over one hundred songs
on it as well as a 7" with over 1000! How's that for
micro-metal??)

Plotkin was a main force in the oddball ('scuse me
"experimental") metal outfit OLD--which itself
incorporated strange techno/industrial
elements--continues to play in Khanate (a "metal"
group known for time-stoppingly slow high-volume
dirges and super low, room-rumbling
frequencies--perhaps another Lopez connection??) and
other aggressive noisy projects but has also produced
very nice subtle guitar drone things (some in
collaboration with KK Null, "known" for his involveent
with the grungy Zeni Geva (see their collab CD
AURORA).

The various comps, "Throne of Drones," "Swarm of
Drones" (don't know the labels) include tracks by
these guys and document others of similar veins well.

Don't know if it's technnically "microsound" and I'm
hardly an authority on either's vast outputs but,
well... there you go.

--- John Nowak <xxxx@xxxxxxxxx.xxx> wrote:

> 
> On Oct 4, 2004, at 11:40 PM, Gregory Elliott wrote:
> 
> > Well, there is the overlap between microsound and
> speed metal where 
> > Francisco Lopez used recordings of his friend's
> speed metal band 
> > rehearsing as source material (apparantly
> Francisco Lopez at least 
> > really likes speed and death metal, and I myself
> have to admit a 
> > certain nostalgia for it at times). Not that that
> makes for a genre 
> > overlap, but it's interesting anyway.
> 
> Indeed, I've used samples of Slayer in my works.
> I've also used samples 
> of Britney Spears and MC Hammer though...
> 
> > As far as the american idea of noise, the way I
> understand it from 
> > hearing about it from others, is that there is a
> distinction between 
> > noise (merzbow, Le Syndicat, Nautical Almanac,
> etc.) and 'powernoise', 
> > which is the ant zen kind of simplified but heavy
> beat based 
> > industrial stuff
> 
> There are a lot of "wall of noise" acts I'd consider
> powernoise, mostly 
> from the US. I'm not in touch with it though, as
> powernoise is too much 
> nonsense and showmanship and pissing contestish for
> my tastes, so I 
> can't name names. I've always called the ant-zen
> stuff hard techno or 
> something like that... after all, it really is just
> noisy, crap techno 
> (redundant, I know).
> 
> I love Cock ESP.
> 
> - John
> 
> 
>
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On Oct 6, 2004, at 2:16 AM, Steve Polta wrote:
> (Napalm Death is rumored to have released
> an LP with--so it is claimed--over one hundred songs
> on it as well as a 7" with over 1000! How's that for
> micro-metal??)

Neither are true. The cd with Scum and From Enslavement To Obliteration 
probably has about 54 tracks on it however. F.E.T.O. is one of my all 
time favorite albums.

Anal Cunt released a 5,643 Song 7", where they recorded live to tape on 
each of the 8 tracks on an 8 track recorder. Sounds amazing, a total 
wash of brutal screaming and guitars and drums.

There is a recent Agoraphobic Nosebleed 3" cd with 100 tracks on it 
(starting in the negative before track 1, and then going all the way to 
track 99.)

I also have an old 7" by the band Seven Minutes of Nausea called XX 
which has 320 songs on it. It's a 45, and it is actually possible to 
follow the lyric sheet along with the record. Almost all of the songs 
sound exactly the same besides the vocals. (band is only bass guitar 
and voice, if I remember correctly.)

Khanate are great. Btw, the rare OLD/Assück split 7" has the best OLD 
stuff on it, imho. It's fast drum machine based material that sounds 
half way between the comedy-grindcore of the Total Hag lp and the 
prog/psyche weirdness of Lo Flux Tube.

Anthony
able to leap tall buildings and answer metal trivia in a single bound.

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Subject: [microsound] Re: powernoise
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* chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>:
>i understood powernoise and power electronics to be pretty much the
>same thing, all derived from whitehouse and the more extreme TG
>tracks.  lots of screaming over loud analog gear pushed to its limits
>and/or distorted beyond belief.  people like con-dom, bloodyminded,
>and slogun.

* Anthony Saunders <xxxxxxx@xxxxxxxxxxx.xxx>:
>I on the other hand was under the impression that "power noise" and
>"power electronics" were very different.  PE being Whitehouse, Sutcliffe
>Jugend, Genocide Organ, Con-Dom, Grey Wolves, Taint, Grunt, Slogun,
>etc, and PN being Ant-Zen style rhythmic noise.

This is pretty much how I've always seen it.  PN being a *much* more
recent strain of "noise", with emphasis on rhythm, and even "beats"
(evolving from, among other things, stuff like The Klinik, PIAS & KK
bands; take Dirk Ivens f.e. going from The Klinik -> Dive -> Sonar,
certainly a staple of modern PN), unlike most of the PE artists
mentioned above.  No doubt many of the young Ant-Zen'rs have GO, WH,
early SPK & TG in their bins though.

* xxxxxxxx@xxx.xxx:
>I was kind of surprised to hear talk from the low-key microsound board
>about power electronics-style noise...  In Michigan we have Wolf Eyes
>and the American Tapes label...  Over in Minneapolis is the Freedom From
>label (http://www.freedom-from.com/)...  If you go to their links page
>you will find a bunch of labels that have noisyness on them, you probably
>haven't heard of a lot of it.  Then of course there's Providence RI, from
>which comes the Load records label (http://www.loadrecords.com/).  This
>label houses a good synthesis of noise and metal...

>Uh, that's where most American power electronics seems to be coming
>from these days, so go check it out.

I wouldn't classify Wolf Eyes, much on American Tapes, or anything on
Load as "Power Electronics".  Freedom From comes much closer to having
artists that fit this description, but as with AT and Load, most are
just "noisy".  I'm certainly unaware of recent developments in this
area, but I always thought folks like Slogun, Taint, Bloodyminded
(ex-IA, a WH clone) & Knurl were the top of the NA PE contingent.


-Patrick


NP: Rokia Traoré - "Bowmboï"
[Brilliant gig a few nights back]



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>Two "metal" artists who have definitely crossed into
>the "experimental" (whatever that means) world, and at
>times exist at these boudaries are James Plotkin and
>Mick (MJ) Harris.

if we're going in that direction, then i have to mention ulver, who 
were an open-minded black metal band with folk touches .  over the 
years they added trip-hop beats and classical textures, then removed 
the metal part almost entirely, became dark electro-prog, created EPs 
of clicks and cuts mixed with melodic piano, and invited a host of 
underground names to remix their old work to become experimental 
electronics and noise.

d.

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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] [OT] sci-fi films that take place in detroit?
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other than robocop?

anyone? anyone? bueller?

thx

g.


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From ???@??? Wed Oct  6 16:43:32 2004
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Date: Wed, 06 Oct 2004 18:42:39 +0200
From: Sylvain Dal <xxxxxxx.xxx@xxxxx.xx>
Subject: [microsound] RE : [microsound] [OT] sci-fi films that take place in
 detroit?
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http://us.imdb.com/List?endings=on&&locations=Detroit,%20Michigan,%20USA
&&heading=18;with+locations+including;Detroit,%20Michigan,%20USA

you just have to find which ones are sci-fi.

S/

-----Message d'origine-----
De : graham miller [mailto:xxxxxxxxxxxx@xxxxxxxxx.xx] 
Envoyé : mercredi 6 octobre 2004 15:59
À : Microsound
Objet : [microsound] [OT] sci-fi films that take place in detroit?

other than robocop?

anyone? anyone? bueller?

thx

g.


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From ???@??? Wed Oct  6 17:09:24 2004
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Subject: Re: [microsound] cd's 1 - mp3's 0
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oh yes, CDs *versus* digital music formats.  Haha.

On Sep 27, 2004, at 3:14 PM, Kim Cascone wrote:

> http://www.reuters.com/newsArticle.jhtml? 
> type=technologyNews&storyID=6344825&src=rss/ 
> technologyNews§ion=news
>
>
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From ???@??? Wed Oct  6 17:13:18 2004
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on 10/5/04 10:40 PM, Anthony Saunders at xxxxxxx@xxxxxxxxxxx.xxx wrote:
 
> "Frozen By Blizzard Winds" sounds like an Immortal song title...

 wasn't that by derek holzer or someone?
> 

 b.


> Plotkin was a main force in the oddball ('scuse me
> "experimental") metal outfit OLD--which itself
> incorporated strange techno/industrial
> elements--continues to play in Khanate (a "metal"
> group known for time-stoppingly slow high-volume
> dirges and super low, room-rumbling

 you might try the 'southern lord ' label. i'm no expert yet i think members
of Khanate are also in Sunn0>>> , whose double white disc is supposeed to be
good . there may even be a double white two. they're from seattle , which
ensures the highest qualities in musical taste.


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From ???@??? Wed Oct  6 17:29:22 2004
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Date: Wed, 06 Oct 2004 13:28:24 -0400
From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist  for September 29, 2004
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>
> Dear Artist and Label
>
> Welcome to the radio program Whynot Jazz on Toronto's CKLN FM 88.1. 
> Heard Every Wednesday Morning from 7am-11am est, 1pm thru most of 
> Europe and noon in the UK. Available around the world at:
>
> www.ckln.fm
>
> Here is the playlist from the last Whynot Jazz Program. Please note 
> that radio program, hosted by Mike Hansen, takes an outside 
> examination of new improvised and jazz musics. Whynotjazz is one of 
> the very few voices for progessive new music heard in Toronto or 
> around the world.
>
> Why Not?
> 2004/09/29
>
>
> Artist
> Song Title
> Album Title
> Label
>
>
> Scott Fields Ensemble
> Christangelfox
> (excerpt)
> Christangelfox
> 482 Music
>
>
>
> Sophie
> Agnel/Christine
> Wodrascka
> Machine
> Cuerdas
> Emouvance
>
>
> Alvin
> Curran/Domenico
> Sciajno
> Someone to
> Watch Over
> What
> Our Ur
> Rossbin
> Productions
>
>
>
> John Heward Trio
> Let Them Pass
> Three
> Let them Pass
> Drimala Records
>
>
>
> John Butcher/Gino
> Robair
> Fid
> New Oakland Burr
> Rastascan Records
>
>
>
> R. Friedi/B. Gunter/M.Vorfeld
> Message Urgent
> pt 1
> Message Urgent
> Trente Oiseaux
>
>
>
> Janek Schaefer
> Cold Storage
> Room 1
> Cold Storage
> DSP Recordings
>
>
>
> Dragon 1976
> Last night
> Document Chicago
> 482 Music
>
>
>
> Tanya Kalmanovitch
> Hut Five
> Straight into the
> Delete Bin
> Out where the
> trains don't run
> Perspicacity
>
>
>
> Nick fraser / Justin
> Haynes
> Pretending to
> Play Music
> Are Faking It
> independent
>
>
>
> Deep Dark United
> Play to Please
> Ancient
> Blocks
>
>
>
> Do make Say Think
> Ontario Plates
> Winter Hymn...
> Constellation
>
>
>
> Futaki
> 4
> demo
> independent
>
>
>
> Blevin Blectum
> Last track
> Look Magic Maple
> Praemedia
>
>
>
> Ernst Thoma
> Archives
> Scanner
> Time Layer
> Unit Records
>
>
>
> Apparitions
> Private
> Language
> Apparitions
> Leo Records
>
>
>
> Bject
> 2
> Object 4
> Locust Music
>
>
>
> Dragon 1976
> Last Night
> Document:Chicago
> 482 Music
>
>
>
> John Russell/Ute
> Volker/M.Werchowski
> Fletch n Sketch
> Three Planets
> Emanem
>
>
>
> Kenneth Patchen/Al
> Neil Quartet
> There's a Place
> Jazz in Canada
> Locoust
> music
>
>
>
> AEM
> 3
> The GlassSnake
> and Other Poems
> independent
>
>
>
> Joe Mcphee
> Blues for New
> Chicago
> Topology
> Hathut
>
>
>
> Dragon 1976
> Last night
> Doucument:Chicago
> 482 Music
>
>
>
> Wendy Atkinson
> Somehow
> Dissolves
> Trim
> Smarten
> Up
>
>
>
> Your support is necessary in keeping this voice for the music current. 
> Please feel free to forward music to the address below. Thanks again 
> for your support. Keep Listening
>
>
>
> Thanks
> Mike
>
>
> Mike Hansen
> CKLN FM 88.1
> Whynot Jazz Program
> 79 Benson Ave.
> Toronto,On
> Canada
> M6G 2H7
> xxxxxxxxxx@xxxxxxx.xxx
>
>


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 FILETIME=[1C5F7D20:01C4ABCA]

White 1 and White 2 are single discs, not double releases, both are 
excellent, athough hyped by The Wire. They thank Russel Haswell in the liner 
notes. Each cd has three long tracks. Totally influenced by Sludge masters 
Earth. Good stuff.

Scott

>  you might try the 'southern lord ' label. i'm no expert yet i think 
members
>of Khanate are also in Sunn0>>> , whose double white disc is 
supposeed to be
>good . there may even be a double white two. they're from seattle , 
which
>ensures the highest qualities in musical taste.

_________________________________________________________________
Don’t just search. Find. Check out the new MSN Search! 
http://search.msn.click-url.com/go/onm00200636ave/direct/01/


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From ???@??? Wed Oct  6 17:36:10 2004
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 FILETIME=[F43F0210:01C4ABCA]

> > Plotkin was a main force in the oddball ('scuse me
> > "experimental") metal outfit OLD--which itself
> > incorporated strange techno/industrial
> > elements--continues to play in Khanate (a "metal"
> > group known for time-stoppingly slow high-volume
> > dirges and super low, room-rumbling

>  you might try the 'southern lord ' label. i'm no expert yet i think 
>members
>of Khanate are also in Sunn0>>> , whose double white disc is supposeed to 
>be
>good . there may even be a double white two. they're from seattle , which
>ensures the highest qualities in musical taste.

You should check out the 'Flight of the Behemoth' album by Sunn0))
Roughly half of the album is in collaberation with Merzbow (the tracks Bow1 
and Bow2)
with noise washes and avant guarde piano work over doom metal riffs slowed 
to a drone.

_________________________________________________________________
Express yourself with cool new emoticons http://www.msn.co.uk/specials/myemo


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From ???@??? Wed Oct  6 17:58:01 2004
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Subject: Re: [microsound] death metal into microsound
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>Two "metal" artists who have definitely crossed into 
>the "experimental" (whatever that means) world, and at 
>times exist at these boudaries are James Plotkin and 
>Mick (MJ) Harris. 

if we're going in that direction, then i have to mention ulver, who 
were an open-minded black metal band with folk touches .  over 
the years they added trip-hop beats and classical textures, then 
removed the metal part almost entirely, became dark electro-prog, 
created EPs of clicks and cuts mixed with melodic piano, and 
invited a host of underground names to remix their old work into  
experimental electronics and noise. 

d. 



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From ???@??? Wed Oct  6 19:08:52 2004
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From: =?iso-8859-1?Q?Bj=F6rn_Eriksson?= <xxxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] RE: Random or Algorithmic Music Genrators
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Done.
But this is not my area so I have just put up a link to "The Fractal Music 
Lab" which seems to be a good online resource.

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

/Björn


> could someone start a TWiki page with links for AlgoMus generators?
> KIM
>


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From ???@??? Wed Oct  6 21:27:01 2004
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From: Michael Greenwood <xxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] microsound vs death metal
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The White1 and White2 albums are, however, double lps and in the case of
White2, there is an extra song on side 4 that is not on the compact disc
version.  White1 has an etching on that side.

Speaking of SunnO)))...I would love to trade a brand spanking new and sealed
copy of White2 (1000 pressed) for a new or used copy of 'Flight of the
Behemoth' if anybody is interested.  There can also be a small amount of money
on my end as well.  Anyway, get in touch if this sounds like your thing.

All the best,
Michael Greenwood
Canada

scott allison wrote:

> White 1 and White 2 are single discs, not double releases, both are
> excellent, athough hyped by The Wire. They thank Russel Haswell in the liner
> notes. Each cd has three long tracks. Totally influenced by Sludge masters
> Earth. Good stuff.
>
> Scott
>
> >  you might try the 'southern lord ' label. i'm no expert yet i think
> members
> >of Khanate are also in Sunn0>>> , whose double white disc is
> supposeed to be
> >good . there may even be a double white two. they're from seattle ,
> which
> >ensures the highest qualities in musical taste.
>
> _________________________________________________________________
> Don’t just search. Find. Check out the new MSN Search!
> http://search.msn.click-url.com/go/onm00200636ave/direct/01/
>
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From ???@??? Wed Oct  6 22:09:36 2004
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Subject: Re: [microsound] Random or Algorithmic Music Genrators
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if you understand (or are willing to learn) some lisp,
and your platform is mac, i've found
http://www.koncon.nl/ACToolbox/ to be pretty friendly.

i think ircam also has a lisp-based program.

p

> Date: Wed, 6 Oct 2004 00:05:05 +0100
> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> From: Gavin Stevens <xxxxxxxx@xxxxx.xx.xx>
> Subject: Re: [microsound] Random or Algorithmic
> Music Genrators
> Message-Id:
> <20041006000505.799d1f2e.xxxxxxxx@xxxxx.xx.xx>
> 
> On Mon, 4 Oct 2004 23:07:38 EDT
> xxxxxx@xxx.xxx wrote:
> 
> >  
> > Hello is there anyone here that collects random or
> algorithmic music  
> > generators? 
> > I like to find one that supports Musical forms
> such as rondo ,A-B-C,  
> > Rhapsody Ect.. 
> > It must be able to save or export the songs As
> Midi Files. 
> > I already have fractalmusic2000 and all of Paul
> Whalley Programs
> > prefer  Freeware or on the cheap $50 or less.
> thanks for any And All
> > help Mg3Nc .  
> 
> Hi,
> 
> I've got quite a collection that I backed-up to CD
> from when I used to
> run Windows. I'm not sure about structural detail
> like rondo etc.,
> though. I'll take a look on the CD & see what I've
> got.
> 
> Another avenue worth exploring is to install the
> superb Atari ST
> emulator STeem (or XSteem for Linux), which opens up
> a whole new
> universe of fractal/algorithmic apps.
> 
> I'll write more when I've looked at what I have.
> 
> Gavin.
> 
 

=====
ØäPnî­áÃ`Ìgx9KlóS•Ìh´9»=œ®_®½ö±ql°<|Pô“)”ì¹xS@‹ñìðeúë©­
Çñ=Ž>²åûMs؛h#Õ×k·#Í6žü:´kB*÷Ú©¶½ö“™Gγü>u4ÖÿžŽ¾Ú÷ç5
À8¡ http://www3.telus.net/pinothefrog/ @½ø’ÈWϱïÚU¤IéѼž¹ÑmàÝs è+ý5E“)IÐ ÃBâÅ/²@A€gºžët(‹qÙĐ¯–mè0%—íDcWïýŸ_Ÿ‰—
þ[>¿B±¸ Ÿ_i}¾Ëï³5ý_/çËÿ,¿k—믾C`©rÉ?Ÿ Ä×îõ$2,‚µðÈd7’

______________________________________________________________________ 
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>if you understand (or are willing to learn) some lisp,
>and your platform is mac, i've found
>http://www.koncon.nl/ACToolbox/ to be pretty friendly.
-Both Mac OS9 & Mac OS X.

>i think ircam also has a lisp-based program.
-Yes indeed. It's called Common Music and you have
 too spend lots of money on it and on a lisp - compiler...

 Paul Berg's ACToolbo is free.

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: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Random or Algorithmic Music Genrators
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>>i think ircam also has a lisp-based program.
>-Yes indeed. It's called Common Music and you have
> too spend lots of money on it and on a lisp - compiler...
-I've have to correct that: ircam's program is called Open Music.
 Common Music also exists and uses the C-language.

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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Subject: Re: [microsound] microsound vs death metal
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> funny - in toronto i was going to see some lame laptop crap on the 
> third
> floor of this club (books on tape - ick).

just to clear up a popular misconception: as anyone who would have seen 
him live could attest, books on tape does NOT in fact use a laptop.  
whatever is called "lame laptop crap" thus is likely to have been 
another act.

& a personal note on the topic: having seen a lot of electronic shows 
in the past years, i can only say that books on tape's performances are 
never anything short of great & entertaining & the antithesis of the 
cliché of a "laptop show", not that there's anything wrong with the 
latter.

i would have to wholeheartedly recommend that anybody with a wee bit of 
openness in them do check his live set out next time he comes to your 
city.

that being said,

have a nice day
~ david

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From ???@??? Wed Oct  6 22:54:48 2004
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I think it might be free if we're talking about the Common Music to be found 
here:
http://commonmusic.sourceforge.net/doc/index.html
Pointers to Public Domain Lisp-compilers to be found there too...

I have put up pointers to both softwares over at the TWiki.

/Björn


>>i think ircam also has a lisp-based program.
> -Yes indeed. It's called Common Music and you have
> too spend lots of money on it and on a lisp - compiler...
>
> Paul Berg's ACToolbo is free.
>
> AvS
>


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>Pointers to Public Domain Lisp-compilers to be found there too...
-However:
"Macintosh Common Lisp (MCL): A full-featured commercial CL available for
Macintosh. Includes a native CLOS,  true multi-processing, and a graphical
interface."

Which is what ircam's open music needs, for which yo have to
pay (which is fine by me if you are willing...).

AvS

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

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

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

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

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



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From ???@??? Wed Oct  6 23:48:39 2004
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each to their own...

david turgeon wrote:

> > funny - in toronto i was going to see some lame laptop crap on the
> > third
> > floor of this club (books on tape - ick).
>
> just to clear up a popular misconception: as anyone who would have seen
> him live could attest, books on tape does NOT in fact use a laptop.
> whatever is called "lame laptop crap" thus is likely to have been
> another act.
>
> & a personal note on the topic: having seen a lot of electronic shows
> in the past years, i can only say that books on tape's performances are
> never anything short of great & entertaining & the antithesis of the
> cliché of a "laptop show", not that there's anything wrong with the
> latter.
>
> i would have to wholeheartedly recommend that anybody with a wee bit of
> openness in them do check his live set out next time he comes to your
> city.
>
> that being said,
>
> have a nice day
> ~ david
>
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From ???@??? Thu Oct  7 00:53:38 2004
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> ever heard, sad songs make sad people happy?

empathy is relieving though doesn't sound quite so poetic

> not sure if sad and dark are the same thing. why do people love blade 
> runner so?
> jean-pierre jeunet? anne rice? there is beauty in darkness. and while 
> i have never
> heard that quote, it's very nice...

If done well it's constructing a world with a focus on a mood, a 
narrowing of emotions.

> even though i don't consider myself sad. at
> least anymore. i do love anger though. i wish there was more in 
> microsound. punk
> is a beautiful expression of the human condition.  there's bit of punk 
> in all
> things great.

There are numerous exceptions but I'm convinced by and large microsound 
is more about process and experimenting. I mean I'm sure it can be 
microsound and express a mood. While I'm sure one can interpret 
something as having more of one kind of mood than another, but still, I 
mostly hear people expressing the desire not to consciously set a mood.


ndkent
http://www.artskool.biz/jem/ndkent/


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--Boundary_(ID_qFxybt6ikSjVw1HMGX3CpA)
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This whole thing about "sadness" and "darkness" seems to me to be waaay off 
the point when talking about certainly the power-electronics field but also a 
lot of music that you are lumping into these larger groups, be it metal, 
industrial, what have you.
There always seems to be a lot of other weird cultural and 
post(yaaaawn)modern detritus clumped to it. People didn't chose analog and trash because it's 
angstier or angrier, they chose weird broken down stuff because of it's reto or 
contemporary or cool or uncool associations. Also it relates to primal musical 
stuff, like the resurrection of dead flesh, long ago being a turtle shell or 
antelope horn something and nowadays being a telephone or some other garbage. 
And there's a lot of other really specific cultural push and pull that people 
can't describe but can sense, stuff that will probably not survive more than 
like a decade of cultural memory or about a 500 mile geographic radius, but who 
cares what our grandkids are going to think of our music anyways. All this 
shit went down with punk too, but people seem to remember it only in terms of 
really general descriptions like "angry."
Also, mr. Wolf Eyes and their label isn't noise guy, didn't Kevin Drumm 
record for both Mego and the American Tapes/Wolf Eyes label Hanson? Whether or not 
I spelled Kevin's name right just now, you have to agree that it's noise. So 
there.
--Boundary_(ID_qFxybt6ikSjVw1HMGX3CpA)--

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 FILETIME=[71304E40:01C4AC0D]

Cool, didnt know that about the lp's, also didnt mean to come off with 
additude or anything.

best
scott

>The White1 and White2 albums are, however, double lps and in the case of
>White2, there is an extra song on side 4 that is not on the compact disc
>version.  White1 has an etching on that side.
>
>Speaking of SunnO)))...I would love to trade a brand spanking new and 
sealed
>copy of White2 (1000 pressed) for a new or used copy of 'Flight of the
>Behemoth' if anybody is interested.  There can also be a small amount of 
money
>on my end as well.  Anyway, get in touch if this sounds like your thing.

_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today - it's FREE! 
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Sorry about that last post there, guys. I have a habit of getting ahead of 
myself sometimes...
Oh, while I'm here, anyone hear or know anything by that Konono No1 band yet? 
I don't have music but the concept and pictures alone are making my mouth 
water.
--Boundary_(ID_YoSoBArQxFkSmoV28cRbmg)--

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>People didn't chose analog and trash because it's
>angstier or angrier, they chose weird broken down stuff because of 
>it's reto or
>contemporary or cool or uncool associations.

in the past people used that stuff because it's all they had access 
to or could afford.


d.

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Subject: Re: [microsound] microsound vs death metal vs cage
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 FILETIME=[50E85B40:01C4AC2C]

Funny, found this by accident, doing some research, ended up in the archives 
for a list about silence and Cage, anyway there is an interesting thread 
titled "Cage as Forerunner of Heavy Metal?" Interesting related reading from 
the past.

http://www.newalbion.com/artists/cagej/silence/html/1998q1/0145.html

best
Scott Allison

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From ???@??? Thu Oct  7 06:47:07 2004
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From Aquariusrecords.org....

LOPEZ, FRANCISCO Untitled 104 (Alien8) cd 14.98
I kid you not. This is the album where Lopez goes
metal. Not the recording of sheet metal resonance, not
the amplified vibrations of metal molecules, not even
the inactivity of two pieces of sheet metal
thoughtfully sitting alone in a room with nothing to
ponder but their own existential (in)audibility. The
normally sedate Lopez goes metal like Emperor, Slayer,
or Cradle of Filth.
If anybody has recently witnessed the cascading power
of Lopez's recent live shows, then "Untitled 104" is
certainly not a surprise. Of course, Lopez sets
everything up with 4 minutes of his usual silence,
before a tumultuous assault of sampled metal blast
beats destroys any semblence of serenity. Lopez layers
wave after wave of rhythmic clatter that reveals an
incredible amount of textural noise. One blast beat
takes the aural center stage, and you find yourself
asking "Huh? Is this Cannibal Corpse? Or was that last
one from Morbid Angel? I don't know." (Actually, we
suspect that all the samples are from one band, but
even the metal minds here at AQ haven't confidently
guessed which one.) Lopez could have unwittingly
devised the ultimate trivia contest for metalheads to
name the sample. 35 minutes pass (35 head spinning, if
not head banging minutes) and then the metal rhythms
stop. Ten more minutes of silence provide the coda.
While this record is really fucking good (indeed, it's
one of Jim's favorites of the year along with Reynols'
"Blank Tapes"), it is also another example of the
academic / art world colonization of metal. Like
Matthew Barney's awe-inspiring image in "Cremaster 2"
of Dave Lombardo hammering at his drum kit behind the
sound of swarming bees, Lopez's "Untitled 104"
effectively translates the pure masculine power of
metal to an audience who may not care for the, uh,
aesthetics of metal. Fortunately, it appears that
Lopez and Barney do not approach metal with a snobbish
irony (like Harmony Korine's reprehensible
photo-enlargements of black metal album covers that
sold for tens of thousands of dollars), but such
appropriation nevertheless marginalizes metal as
nothing more than a texture or an attitude, far from
the vibrant and deviant culture that it is.
Rant aside, if this record causes one fan of Bernhard
Gunter to get into Burzum, then, as far as Aquarius
Records is concerned, Lopez has succeeded.
Recommended.

Realaudio:
http://www.aquariusrecords.org/audio/franciscolopezu104.rm
(I can't confirm that the link works. Realaudio hasn't
worked correctly on any of my computers in years. Each
"upgrade" gets worse. The newest one doesn't play
music but does play tv commercials when I don't ask it to.)

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From ???@??? Thu Oct  7 10:08:49 2004
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How about:

REPTILJAN: Pangrenade
http://www.someplaceelse.net/sound/lores/028_reptiljan_pangrenade.mp3
(lo-res mp3)

It's from the Reptiljan / Ibrahim Terzic split 7".
http://www.someplaceelse.net/releases/?id=spe7sp03028

Reptiljan will play live in Turku, Finland tomorrow. We'll probably share
the live recording as mp3 afterwards, so if the above turns you on keep an
eye on us. "Pangrenade" is a year old now so the sound has (d)evolved a
bit.


Niko

-- 

record label ....... http://www.someplaceelse.net
personal ................. http://nikoskorpio.net
graphic design ............... http://moopica.com
random chaos ................... http://kaaos.org

Some Place Else | Box 685 | 20101 Turku | Finland



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