[microsound] Fwd: [LINE] new release ASMUS TIETCHENS "E-MENGE"

From richard chartier
Sent Tue, Mar 1st 2005, 03:15

> LINE | FEB.28.2005
>
> new release - AVAILABLE NOW
>
> artist: ASMUS TIETCHENS
> title: E-MENGE
> cat.no: LINE020
> release: MARCH.05
> edition: 500
>
> http://www.12k.com/line
>
> LINE is proud to present e-Menge the new installment of the Mengen 
> series from influential German electronic music pioneer Asmus 
> Tietchens. LINE will be releasing the subsequent works in this series. 
> Epsilon-Menge means Epsilon quantity.
>
> The four pieces of this recording represent my aesthetic approach to 
> space. Space not as in a "spacey" or astronomic sense, but space as an 
> extension of the three-dimensional region in which we exist. Caused by 
> acoustic foregrounds and acoustic backgrounds, spaces of different 
> capacities occur. In the early 20th century the fine arts began to 
> abolished spatiality, I wish to restore it by sound.
>                                         - Asmus Tietchens, 2005
>
>
> Asmus Tietchens' first released his unique electronic music in 1980, 
> but created works since the late 1960s. Since then he has produced 
> about 30 more cutting edge recordings on numerous international labels 
> dealing with electronic sound and conctrete music. Other 
> collaborationive projects include the ongoing Kontakt der Jünglinge 
> with Thomas Köner. Tietchens' focus is the manipulation of found sound 
> in ways suggested by the material itself. German label Die Stadt has 
> begun to reissue his groundbreaking early works on cd in limited 
> edition. His latest critically acclaimed project, a series based 
> strictly on sine tones and white noise is the "Mengen" series released 
> by Ritornell/Mille Plateaux (Alpha-, Beta- and Gamma-Menge). 
>
> --
> . . . . . . . . . . . . . .
> 12k | LINE | HAPPY
> WWW.12K.COM
>
> NOW:
> CD: Taylor Deupree & Christopher Willits Mujo [Plop, Japan]
> CD: January [Spekk, Japan]
> CD: participant on Bip Hop Generation v.7 [Bip-Hop, France]
> LIVE: Presences Electronique | Feb.18 | Paris
>
> SOON:
> CD: Taylor Deupree & Kenneth Kirschner Post_Piano 2
>
>


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From ???@??? Tue Mar  1 01:17:35 2005
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Subject: Re: [microsound] New York university???
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John Nowak wrote on 2/28/05:

>I think my comments make sense when read in context...

John-

Didn't catch Filipe's original post and I think your comments do make
sense in context.  So apologies.

A shame everyone's hunkered down in their bunkers, however...

Best,

Tad

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From ???@??? Tue Mar  1 00:24:11 2005
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Date: Tue, 01 Mar 2005 09:23:57 +0900
From: Shinjiro_Yamaguchi <xxxxxxxxxx@xxxxxx.xx>
Subject: [microsound] New Japanese CD-R Label by Hiroyuki Ura and ASAMO
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Hi all,


We are proud to announce our first CD-R release venture "TWOLINES".
TWO LINES is a new japanese cd-r label launched 2004.
we have two series
REGARDS and RE:LETTERS.


The former is the series of sounds which is considered to be music.

>past release :
TWO LINES (RGRD01) | URA + SH_YA
April 2004


$B!D!D(B

The latter is the series of live and fieldrecording works.
 
>NEW release :
shibuya at intervals (RLTR01) | hiroyuki ura vs. asamo
February 2005


$B!D!D(B

>ALL ITEMS 
are 10 euro include shipping.


available here

http://www.two-lines.org



visit..
have fun :)


 
Thanks for your time




all the very best
Shinjiro Yamaguchi

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From ???@??? Mon Feb 28 23:59:46 2005
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Subject: Re: [microsound] New York university???
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On Feb 28, 2005, at 12:27 PM, vze26m98 wrote:

> John Nowak wrote on 2/26/05:
>
>> Unquestionably correct. Do not even consider a music-centric program.
>> You'll end up jamming pencils in your ears within a week.
>
> Hey John-
>
> I'm reminded of J. C.'s comment about pulling the pencils from your own
> eyes before you get started on the pencils of others...
>
> laissez faire,
>
> Tad

"I´m very interested in music but I want nothing to do with 
composition, I´m more into the relationship between the new digital 
media and specially sound." - Filipe Galante

I think my comments make sense when read in context... perhaps you 
should take your own advice. Sorry if something I said put you on the 
defensive, but that's really something you need to address, and not due 
to any fault on my part.

- John

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From ???@??? Mon Feb 28 17:28:08 2005
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John Nowak wrote on 2/26/05:

>Unquestionably correct. Do not even consider a music-centric program. 
>You'll end up jamming pencils in your ears within a week.

Hey John-

I'm reminded of J. C.'s comment about pulling the pencils from your own
eyes before you get started on the pencils of others...

laissez faire,

Tad

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Mon Feb 28 15:16:12 2005
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Date: Mon, 28 Feb 2005 09:17:04 -0600
From: john kannenberg <xxxx@xxxxxxxxxxx.xxx>
Subject: [microsound] NEW: Micah Silver / ARCHIVE: Carol Genetti
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-----------------------------------------------

Stasisfield continues the 2005 release season
with another new recording and another old favorite.

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

+ NEW RELEASE

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

  SF-4002:Utopian Artifacts : Micah Silver

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

New York - based composer, visual artist and curator Micah Silver 
presents a pair of pieces derived from works for other media. Scale 
is a plaintive work for synthesizer and short wave radio that debuted 
as a sound installation. Houston/Touch ("for mark rothkowitz"), a 
piece for tone generators, noise and guitar, accompanies a video that 
evokes the gritty, intense spirituality of the abstract 
expressionist's late-period works, specifically the fourteen black 
paintings in Houston's Rothko Chapel. Although both pieces were 
originally composed seperately, together they create a balanced 
whole, fifty minutes of sonic stasis that are truly in motion while 
remaining still.

Available for download and streaming at:

[ http://www.stasisfield.com/releases/year04/sf-4002.html ]

-----------------------------------------------
^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^
-----------------------------------------------

+ ARCHIVE RELEASE

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

[The second installment of a new feature at Stasisfield: every month 
we will present a release from a previous year that has been taken 
offline and archived onto our series of MP3 archive CDRs, making it 
available for one month only. Our first back-online archive release 
comes from the Stasisfield : Year 01 Archive CDR. ]

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

SF-1008 : Grain : Carol Genetti

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

Originally commissioned for con|text, the inaugural exhibition of 
Stasifield.com's digital art gallery Stasis_Space, renowned Chicago 
experimental vocalist Carol Genetti created this haunting track of 
half-words and vocal mis-steps to express the difficulties of 
post-modern communication.

Originally released 10.06.2002

Available for download at:

[ http://www.stasisfield.com/releases/archive/ ]

-----------------------------------------------
^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^
-----------------------------------------------

+ CALL FOR ENTRIES - STASIS_SPACE GALLERY

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

Stage 01 of a new online exhibition, The resonant Image, is currently 
accepting submissions.

Details:

[ http://www.stasisfield.com/space/future ]


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

As always, thanks for listening.

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

>>

john kannenberg

[ http://www.johnkannenberg.com ]

[ http://www.stasisfield.com ]

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From ???@??? Mon Feb 28 14:32:52 2005
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test...

sorry, one of those ezmml warnings and no messages since yestrday...
ignore if it gets through at all..
thostler
°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego

http://www.tomoroh.com/
http://www.stiege44.com/
xxxxxx@xxx.xxx
ay, sigue:56825202

>> we gonna fight for your right to apathy... <<
°°°°°
  ----- Original Message ----- 
  From: Noisejihad 
  To: List Microsound 
  Sent: Sunday, February 27, 2005 18:32
  Subject: [microsound] Noisejihad Live! net label


  yet another netlabel has come to life. The Noisejihad Live! netlabel provides you with exclusive live recordings of artists engaged by Noisejihad. A service from us to those of you who are prevented from showing up at the shows. All releases are free and covers are ready-to-print .pdf files.
  For starters we offer:
  NJL001: Mag Necro (J) + Ultimate Combat Noise (DK)
  NJL002: Ryfylke (N) + Danny Kreutzfeldt (DK)

  blasting noises and calm ambient, so there really isn't any reason why you shouldn't surf by www.noisejihad.dk and spend some of your broadband connection downloading these truly great recordings.
  thank you for your time!

  Noisejihad
  IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
  Next: Electrical Bonding on Desolation House >>> www.desolationhouse.com
  Now: Uncomfortable Positions - mp3-ep on Fukk God >>> www.fukkgod.org
  key to knowledge on danish noise >>> www.noisejihad.dk
  art >>> www.ideations.dk
  www.waldchengarten.dk
--Boundary_(ID_RTTKyINcFmoR7QvjkTiBVg)--

From ???@??? Sun Feb 27 17:30:45 2005
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--Boundary_(ID_cw33gtbDNLVYY96oqLerwg)
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7bit

yet another netlabel has come to life. The Noisejihad Live! netlabel provides you with exclusive live recordings of artists engaged by Noisejihad. A service from us to those of you who are prevented from showing up at the shows. All releases are free and covers are ready-to-print .pdf files.
For starters we offer:
NJL001: Mag Necro (J) + Ultimate Combat Noise (DK)
NJL002: Ryfylke (N) + Danny Kreutzfeldt (DK)

blasting noises and calm ambient, so there really isn't any reason why you shouldn't surf by www.noisejihad.dk and spend some of your broadband connection downloading these truly great recordings.
thank you for your time!

Noisejihad
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Next: Electrical Bonding on Desolation House >>> www.desolationhouse.com
Now: Uncomfortable Positions - mp3-ep on Fukk God >>> www.fukkgod.org
key to knowledge on danish noise >>> www.noisejihad.dk
art >>> www.ideations.dk
www.waldchengarten.dk
--Boundary_(ID_cw33gtbDNLVYY96oqLerwg)--

From ???@??? Sun Feb 27 16:56:47 2005
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On Feb 27, 2005, at 12:54 AM, Cory wrote:

>> http://dt.parsons.edu

> Can anyone recommend something like this in the Baltimore/D.C. area?

Move to NY, eh? We can go out for coffee.

- John


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From ???@??? Sun Feb 27 05:54:11 2005
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Can anyone recommend something like this in the Baltimore/D.C. area?

Thanks,
Cory

-----------------------------
audio @ myspace.com/myo

On Sat, 26 Feb 2005 13:02:15 -0500, John Nowak <xxxx@xxxxxxxxx.xxx> wrote:

> http://dt.parsons.edu

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From ???@??? Sun Feb 27 05:22:12 2005
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Date: Sat, 26 Feb 2005 21:20:42 -0800
From: Bill Jarboe <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] new online non-magazine
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new online non-magazine + sound files


http://klatch.co.uk/billjarboe/mdh.zip

  (200kb rtfd format)

http://klatch.co.uk/billjarboe/immature_rework.zip

(18 mb aac )

--

                  Bill


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From ???@??? Sat Feb 26 08:48:53 2005
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e-flux

            02/25/05   

--------------------------------------------------------------------------
      ZERYNTHIA 


              

            SOUND ART MUSEUM

            an exhibition space dedicated to sound and vision
            a collection of sound-projects by artists
            a mobile archive

            Rome, February 26th 2005

            http://www.radioartemobile.it
           



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


      The sound invades the scene of art and the artists' practice, triggering original, fascinating and, sometimes unforeseen, combinations. A new collective and international sensitiveness is seeking to gather and convey the reasons of these harmonies and these dissonances.



      18:30 - 19:30 http://www.radioartemobile.it
      (Boston and N. Y. 12:30 p.m.; Bogota 1.30 p.m.; London 5.30 p.m.)
      live broadcasting in connection with


      18:30
      Larissa Harris at MIT Center for advanced visual studies Boston 
      François Bucher Bogota
      Artists participating inthe show Inaudita Roma
      Ron Kuivila for Art in General New York

      19:00 
      Daniel Soutif at Centro per l'Arte Contemporanea Luigi Pecci Prato
      Claire Staebler at Radio Day De Appel Amsterdam
      Ian Aman, Joachim Granit e Carsten Holler at Fargfabriken Stockholm
      Richard Crow e Lucia Farinati at IOR London 


      Radio Arte Mobile, located in via Conte Verde 15 in Rome, will open its doors to the public on occasion of the inaugural exhibition INAUDITA of the Sound Art Museum. 

      Installations by Acconci Studio, Markus Huemer, Donatella Landi, Stephen Vitiello and Achim Wollscheid, will be presented together with artworks of Mario Airo, Massimo Bartolini, Bruna Esposito, Vettor Pisani, Michelangelo Pistoletto, Annie Ratti, Gert Robijns.

      It will be displayed a selection of sound art from the Archive of the Sound Art Museum, which has already filed more than 350 international and national audio works. 

      In collaboration with Nomads & Residents a series of appointments in istitutional locations all over the world is scheduled, where the archived materials will be available for public use. 

      The curators of the Sound Art Museum are Lorenzo Benedetti free lance curator, Riccardo Giagni composer and musicologist, and Cesare Pietroiusti visual artist. 

      The Sound Art Museum archive is a work in progress, all artists who have worked or are working with sound are always invited to send the an artwork on audio CD DVD or on a vinyl record. Please contact the following address


      via Conte Verde n.15/ 4a, 00185 Roma, t. +39 06 49382579/ +39 06 4940893 http://www.radioartemobile.it; http://www.soundartmuseum.net; xxxx@xxxxxxxxxxxxxx.xxx 




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On Feb 26, 2005, at 1:34 PM, Ben wrote:

>> And apologies if I offend anyone here, but I strongly recommend 
>> against New York University (NYU) for undergraduate studies.

> have heard really great things about / from the IT program at NYU

ITP is a grad level program.

- John


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have heard really great things about / from the IT program at NYU
actually, there are some list members currently enrolled in this 
program, so maybe they will contact you off-list for more info.
a friend Melissa Dubbin is a past IT student : sculpture, installation, 
and audio interfaces.
http://www.dubbin-davidson.com/

best,



On Feb 26, 2005, at 1:02 PM, John Nowak wrote:

>
> On Feb 24, 2005, at 8:08 PM, Filipe Galante wrote:
>
>> I´m probably going on the erasmus programme and I´d like to know if 
>> any of you know any good university (preference for NY) that relates 
>> to this emerging currentes of digital art and sound, I´m very 
>> interested in music but I want nothing to do with composition, I´m 
>> more into the relationship between the new digital media and 
>> specially sound.
>
> You sound like a perfect candidate for the design & technology program 
> at Parsons School of Design in New York  City. It's the best of its 
> kind as far as I can tell (and perhaps the only one of its kind in 
> NY).
>
> http://dt.parsons.edu
>
> And apologies if I offend anyone here, but I strongly recommend 
> against New York University (NYU) for undergraduate studies.
>
> - John
>
> ---------------------------------------------------------------------
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>



www.seasonalbk.net
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On Feb 25, 2005, at 8:15 PM, Jason Thomas wrote:

> For your intersts I would avoid music departments in
> general.  Try either arts departments or sound within
> an arts school.

Unquestionably correct. Do not even consider a music-centric program. 
You'll end up jamming pencils in your ears within a week. Again: 
http://dt.parsons.edu

- John


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On Feb 24, 2005, at 8:08 PM, Filipe Galante wrote:

> I´m probably going on the erasmus programme and I´d like to know if 
> any of you know any good university (preference for NY) that relates 
> to this emerging currentes of digital art and sound, I´m very 
> interested in music but I want nothing to do with composition, I´m 
> more into the relationship between the new digital media and specially 
> sound.

You sound like a perfect candidate for the design & technology program 
at Parsons School of Design in New York  City. It's the best of its 
kind as far as I can tell (and perhaps the only one of its kind in NY).

http://dt.parsons.edu

And apologies if I offend anyone here, but I strongly recommend against 
New York University (NYU) for undergraduate studies.

- John

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From ???@??? Sat Feb 26 11:30:23 2005
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hi friends, time travellers, intellectual b-boyz and girrlz::

some winter - news from us.. but spring will also arrive soon
in germany :)

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

+ winter tour 2005 . diary & thx.
++ new cd release privatelektro 07 soon
+++ new privatelektro - artist: rob curgenven
++++ dates dates dates - concerts + live action
+++++ playlist: igor hax


+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
* winter tour 2005 . diary & thx.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

back from the successful mini-winter tour 2005. - to speak in the names
of jen / [sic] and minimatika. xenia.. + marek /triPhaze..
we would like to thank all the people who supported us: the netmage 05 crew in italy:: big up!all the
people we ve meet there in italy too - incl. the nosignal people.. - carlotta, for the house.. andrea
for leading us the way back from TPO.. - leafcutter john & phil niblock for the talkings & sounds..
neuchatel. electripocnic crew - for housing and good parties!! - the pastor leumund (DADA)
& jeroen in zürich, julia & all from fri_son. fribourg.. (great place!), 
the placard people at transmediale in berlin (to solve 70% of the techn. difficulties)
the other 30% we didnt solve. sorry .. thats life :(
leipzig:: homoelectric for the pa (last minute) xabier &dimitri for their great patience..
and all we forgot to mention here .. tour diary:
http://www.privatelektro-news.de/phpBB2/viewtopic.php?t=308


+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
** new release privatelektro 07 cd: soon
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
we are happy to announce the next "physical" privatelekto release will be
rev.benn schipper: dancemusic for shitheads with the yyx cromosome 
76 minutes / 9 titels / 16 page colour booklet
finally out soon!!
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
**** new privatelektro artist:
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ 

we welcome a new family member: australian sound artist rob curgenven.
is working in the context of quiet music, fieldrecordings, minimal soundsynthesis and
as well sound-installations
you can get some more background information and pics find here:
http://www.privatelektro.de/rob_curgenven.html

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
**** dates
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ 

24 / February / 2005
DIMENSION (Drum N Bass) + Igor Hax (privatelektro) / Apprentice / Oracle
hosted by jackpot / visuals by vj buddha
at the caledonia / catherine street / Liverpool / UK / 8:30pm to close / free entry

+++
 
26 / February / 2005 :: kick off 8 pm
PRIVATELEKTRO & ALULA TON SERIEN . # 03
superkronik . Markranstädter Strasse 04 . Leipzig . Germany
"all my love" release tour: underscan label
live: rod- underscan, neo ouija - irland,
menue:exit- underscan - berlin
dj: marius reisser- repeatrepeat - berlin

+++

27 / February / 2005 .
JOINT VENTURE 05: minimatika & privatelektro present:
kick off 7 pm . zentrale randlage . berlin . schönhauser allee 172
live: sarcomasine bloc - (london-UK) - [sic] goldie + daniel beattie -
Mr. Cannon Projects - (london-UK) - voice performance
manami n. (tokyo, JP) & triPhaze - (GER)- voice + Electronics, Devices
die perlonperücken (berlin/USA) - djing & disk-juggling

+++

27 / February / 2005 :
DRONE
New electronic music for Liverpool :: UK!
strcprstskrskrk (hive) / Igor Hax (privatelektro / ar.d (Zoda)
Bar Fresa / Colquitt Street, Liverpool / 6pm - 11pm / free


+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
***** playlist:
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Igor Hax is listenig to:

autechre - confield - warp
zukanican - E 5number - pickled egg records
plastikman - sheet one - emi
strike50: v. a. - special musick for special people - shitkatapult
douglas lilburn#1 - complete electro-acoustic works - atoll
dncn - crayons ep - phush records
various artists - stuff 001 - stuff records

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


we hope to see you soon somewhere out there.
prepare your head for good music...

the privatelektro -team..

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

join the messageboard:
http://privatelektro-news.de

contact us:
xxxx@xxxxxxxxxxxxx.xx

booking:
xxxxxxx@xxxxxxxxxxxxx.xx (world & east)
new! xxxxxxxxx@xxx.xxx   (uk, europe &scandinavia)

privatelektro products are available at:
http://www.staalplaat.com/search/label/privatelektro
http://www.minorlabel.de/mailorder/index.htm
http://www.stora.de
http://www.dronerecords.de/
http://www.dust-dbugger.de/

dense - berlin / neurotitan - berlin / schall&rausch - leipzig /  materia prima - porto /
kellermusik - leipzig / drehmoment - berlin / r3s3t market - bern

-----------------------------------------------------------------------------------------------------
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  Well , if you'll excuse me for being so bold; that you need an 
anechoic structure in between.
  Now, I know alot about anechoic structures , even to the point of 
designing an anechoic jetplane once (or twice) , and an anechoic opera. 
Yet anyway I digress . The point is one doesn't need to be building an 
anechoic chamber n order to employ and enjoy anechoic structures.

   So, if you're too lazy to build the wedges yourself try the foamy 
stuff with the spikes . I'm sure it will work out ok.
the simplified rain?
On Feb 25, 2005, at 7:12 PM, Ben Swire wrote:

> I recently moved into an apartment in which my bedroom
> is separated from my roommate's room by a large
> sliding door, measuring 6'x7.5'.  I am trying to
> figure out an easy affordable solution to help block
> sound between the rooms.  The door will remain
> permanently closed.  I would rather not have to deal
> with the procedure of constructing a wall using
> sheetrock, and I need something that I can remove upon
> moving out of the apartment.  I was thinking that
> perhaps I would build a frame in the doorway in front
> of the door on both sides using 2"x2" sheets of wood,
> and then put up sheets of "Soundstop" insulation from
> Home Depot behind plywood .  Does anyone have
> experience creating sound barriers.  I am not
> expecting the room to be dead quiet, I just want to
> help cut down the sound in an efficient manner.  Any
> advice would be greatly appreciated.
>
> Thanks!
> Ben
> www.foundrysite.com/benswire
>
>
>
>                 
> __________________________________
> Do you Yahoo!?
> Yahoo! Mail - Find what you need with new enhanced search.
> http://info.mail.yahoo.com/mail_250
>
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From ???@??? Sat Feb 26 04:42:10 2005
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on 2/25/05 10:12 PM, Ben Swire at xxxxxxx@xxxxx.xxx wrote:

> I recently moved into an apartment in which my bedroom
> is separated from my roommate's room by a large
> sliding door, measuring 6'x7.5'. ?I am trying to
> figure out an easy affordable solution to help block
> sound between the rooms. ?The door will remain
> permanently closed. ?I would rather not have to deal
> with the procedure of constructing a wall using
> sheetrock, and I need something that I can remove upon
> moving out of the apartment. ?I was thinking that
> perhaps I would build a frame in the doorway in front
> of the door on both sides using 2"x2" sheets of wood,
> and then put up sheets of "Soundstop" insulation from
> Home Depot behind plywood . ?Does anyone have
> experience creating sound barriers.  I am not
> expecting the room to be dead quiet, I just want to
> help cut down the sound in an efficient manner. ?Any
> advice would be greatly appreciated.
> 
> Thanks!
> Ben
> www.foundrysite.com/benswire


http://www.ethanwiner.com/acoustics.html 


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From ???@??? Sat Feb 26 03:12:30 2005
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I recently moved into an apartment in which my bedroom
is separated from my roommate's room by a large
sliding door, measuring 6'x7.5'.  I am trying to
figure out an easy affordable solution to help block
sound between the rooms.  The door will remain
permanently closed.  I would rather not have to deal
with the procedure of constructing a wall using
sheetrock, and I need something that I can remove upon
moving out of the apartment.  I was thinking that
perhaps I would build a frame in the doorway in front
of the door on both sides using 2"x2" sheets of wood,
and then put up sheets of "Soundstop" insulation from
Home Depot behind plywood .  Does anyone have
experience creating sound barriers.  I am not
expecting the room to be dead quiet, I just want to
help cut down the sound in an efficient manner.  Any
advice would be greatly appreciated. 

Thanks!
Ben
www.foundrysite.com/benswire



                
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From ???@??? Sat Feb 26 02:44:41 2005
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From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] Biofeedback artists?
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yeah, they've got a MAX patch for it.

kp

On Feb 25, 2005, at 3:10 PM, nathan dickerson wrote:

> have you seen this little device?
>
> brain/computer interface -- they have support for brainwave -> midi i 
> believe.
>
> http://www.ibva.com/
>
> odd yet interesting
>
>
> On Fri, 25 Feb 2005 12:54:15 +0000, Richard John Brill
> <x.xxxxxx@xxx.xxxxx.xx.xx> wrote:
>> Hello List,
>>
>> I'm writing a thesis on biofeedback sound installation and the 
>> science and technology behind it. What are your views on the subject, 
>> i.e., do you think that installations based on biofeedback technology 
>> can be called artistic if they rely too much on the technology?, such 
>> as Electroencephalograms, galvanic skin respone, and other general 
>> biofeedback technology.
>> Thanks,
>>
>> Rbrill
>>
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>>
>>
>
>
> -- 
> http://patternmedia.com/
>
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From ???@??? Sat Feb 26 01:15:08 2005
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Date: Fri, 25 Feb 2005 17:15:03 -0800 (PST)
From: Jason Thomas <xxxx@xxxxx-xxxxxx.xxx>
Subject: Re: [microsound] New York university???
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If you want to be specifically in NY, your options
have for the most part been stated.  Within reasonable
commuting distance, however, is Wesleyan in Middletown
CT, which has an M.A. in "experimental music." Not so
sure about visual arts opps there. I've heard very
high quality work from them. (Although low quantity
due to small size of department...)  

I can personally recommend calarts and mills if the
west coast isn't a dealbreaker, the former of which I
know from experience would be a good environment for
multidisciplinary work including image.  Not so sure
about mills but certainly worth looking into
otherwise.

For your intersts I would avoid music departments in
general.  Try either arts departments or sound within
an arts school.   

Later,

Jason


--- Doran Massey <xxxxx_xxxxxx@xxxxxxx.xxx> wrote:

> I'm not sure what school level you're at so its hard
> to say specifically 
> what programs might work for you.  I'm almost
> through with an MFA in Studio 
> Art at NYU.  I chose it because it's a very free,
> self-directed program and 
> I could draw on the classes, professors, & visiting
> artists of NYU as well 
> as Columbia U., Princeton U, Yale, CUNY Brooklyn &
> Rutgers U.  Though I 
> haven't used the other schools much.
> 
> Some centers you might find interesting:
> 
> NY area:
> NYU:  http://education.nyu.edu/depts/art/pages/7 
> http://itp.tisch.nyu.edu/page/home
>
http://depthome.brooklyn.cuny.edu/art/frames/academic.html
> http://www.nydigitalsalon.org/
> 
> Close to NYC:
> Brown - RISD
> http://www.arts.rpi.edu/index02.php
> 
> West Coast
>
http://www.calarts.edu/schools/music/programs/composition-newmedia.html
> http://www-crca.ucsd.edu/
> http://www.mills.edu/LIFE/CCM/CCM.homepage.html
> http://www.washington.edu/dxarts/
> http://www.mat.ucsb.edu/matWeb/findex.html
> 
> Other:
>
http://www.artic.edu/saic/programs/depts/graduate/sound.html
> 
> Do you know Jose Carlos Teixeira from Porto?  He
> didn't like NYU & is at 
> UCLA now.
> 
> ----- Original Message ----- 
> From: "Filipe Galante" <xxxxxxxxxxxxx@xxxxxxx.xxx>
> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Thursday, February 24, 2005 8:08 PM
> Subject: [microsound] New York university???
> 
> 
> > Hey microsounders!!!!
> > I´m a portuguese musician/student and I´m very
> interested in keep on 
> > studying this area.
> > I´ve been studying sound and image in Porto,
> Portugal, and now I´m in 
> > London doing Sonic Culture, but my need for
> knowdlege does not stop so Im 
> > thinking of moving next year to New york and keep
> on studying.
> > I´m probably going on the erasmus programme and
> I´d like to know if any of 
> > you know any good university (preference for NY)
> that relates to this 
> > emerging currentes of digital art and sound, I´m
> very interested in music 
> > but I want nothing to do with composition, I´m
> more into the relationship 
> > between the new digital media and specially sound.
> > So if any of you knows anything about this please
> reply - I´ve been 
> > searching on the web but still havent found
> anything suitable, sometimes a 
> > good tip is the best way to go, specially when u
> trust the source.
> >
> > Thanks you
> > Keep on rocking this incredible forum
> > Filipe Galante A.K.A PIXEL82
> >
> >
> >
> >
>
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> >
> > 
> 
>
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> 


=====
Jason Thomas 
346 N. Vermont Ave. # 615
Los Angeles, CA 90004
(323) 661-8093
http://www.jason-thomas.org
xxxx@xxxxx-xxxxxx.xxx

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From ???@??? Fri Feb 25 23:10:54 2005
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have you seen this little device?

brain/computer interface -- they have support for brainwave -> midi i believe.

http://www.ibva.com/

odd yet interesting


On Fri, 25 Feb 2005 12:54:15 +0000, Richard John Brill
<x.xxxxxx@xxx.xxxxx.xx.xx> wrote:
> Hello List,
> 
> I'm writing a thesis on biofeedback sound installation and the science and technology behind it. What are your views on the subject, i.e., do you think that installations based on biofeedback technology can be called artistic if they rely too much on the technology?, such as Electroencephalograms, galvanic skin respone, and other general biofeedback technology.
> Thanks,
> 
> Rbrill
> 
> ---------------------------------------------------------------------
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> website: http://www.microsound.org
> 
> 


-- 
http://patternmedia.com/

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From ???@??? Fri Feb 25 22:32:09 2005
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>You might want to refer to the large body of artworks which are sensor
>driven (or based on 'machine listening') for some context. You might
>also want to do some readings in chance and indeterminacy in arts
>practice and controller mapping in electronic music (Trends in the
>Gestural Control of Music', an IRCAM publication, would be good for the
>latter).
-The following links should help:
http://recherche.ircam.fr/equipes/analyse-synthese/wanderle/Gestes/Externe/index
..html
http://www.notam02.no/icma/interactivesystems/wg.html

AvS

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

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

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

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

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



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From ???@??? Fri Feb 25 22:19:39 2005
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Hi Richard,

Let's do some interpreting... when you say 'rely too much on the 
technology' you've made an assessment and we are not party to your 
criteria for that assessment. If you want to develop a thesis argument 
then you will need to carefully consider your criteria for these kind 
of assessments within the broader context of artistic practice

Now, if I were to guess as to what you are referring to when you say 
'too much technology', I would take a stab and say that you are 
referring to a situation where the work is driven entirely by the 
readings from the sensors with little or no conscious input from the 
subject. Is that right?

You might want to refer to the large body of artworks which are sensor 
driven (or based on 'machine listening') for some context. You might 
also want to do some readings in chance and indeterminacy in arts 
practice and controller mapping in electronic music (Trends in the 
Gestural Control of Music', an IRCAM publication, would be good for the 
latter). From such a contextual you might encounter a range of work 
which has the full range of human agency, from works which behave like 
conventional musical instruments to entirely automated works with 
little or no conscious human agency on the part of the participant.

The greater the array of work you encounter, the more you come to 
realise that art is defined more by contextual factors than by some 
quality innate to the work itself. For this reason, trying to run an 
argument on what constitutes so-called 'artistic' practice is fraught 
with difficulties and you may be getting yourself in way over your head 
if you take this on. It may be better to try and gain insights into the 
artworks you are studying with a view to understanding how the 
technology is integrated into the overall artistic concepts that 
underpin the work. That is not to say that you cannot be critical of 
the use of the technology in the works you study, more that you will 
need to contain that argument to a scope which is defensible and not 
widen it to the point that you will be shot to pieces as soon as you 
write the second sentence!!!

Sorry for the thesis coaching, but it is difficult to respond to your 
question without first clarifying the context.

Cheers

Julian

On Friday, February 25, 2005, at 11:54  PM, Richard John Brill wrote:

> Hello List,
>
> I'm writing a thesis on biofeedback sound installation and the science 
> and technology behind it. What are your views on the subject, i.e., do 
> you think that installations based on biofeedback technology can be 
> called artistic if they rely too much on the technology?, such as 
> Electroencephalograms, galvanic skin respone, and other general 
> biofeedback technology.
> Thanks,


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From ???@??? Fri Feb 25 21:42:22 2005
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] futurists and fascists (was us citizens... (OT)
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> I would probably hazard a
>> guess that the larger lesson to be drawn might lie in considering
>> if (and how) their [Futurist] work *was* co-opted, and how such might also
>> be *our* lot.

Marinetti was not co-opted; like Ezra Pound he support Mussolini. Russolo,
however, and by all accounts, fled the scene. Futurism overall mind you
supported War and various strategies of destruction.


I've been writing and talking on these issues recently --

    http://www.cut-up.com/news/detail.php?sid=330

Check the .microsound archives -- http://www.skylined.org/microsound -- as
there's been some good debate and knowledge sharing on these topics in the
past.. particularly back in the Fall of 2004.


But moving on -- .microsound and other tech-arts are often forgetting the
middle period, circa '50s-'70s, before video-art became the rage: Kinetic
Art, Experiments in Art and Technology (EAT), and the Los Angeles County
Museum's Art + Technology program, all with their corporate-cybernetic ties.
Check out :

    Lee, Pamela. _Chronophobia: On Time in the Art of the 1960_.

http://www.tate.org.uk/modern/eventseducation/talksdiscussions/pamlee1406.ht
m

http://mdcn.ca/tiki-print_article.php?articleId=11


best,

    tV

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


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From ???@??? Fri Feb 25 11:38:55 2005
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Date: Fri, 25 Feb 2005 13:38:49 -0800
From: gintas k <xxxxxxxx@xxxxx.xx>
Subject: [microsound]  Depo club, Riga,
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 FILETIME=[929B1610:01C51B2E]

Friday  4th MARCH 2005 21.00 - 04.00, Depo club, Riga,
Latvia

microStraava [acoustic space beyond melody and rhythm]
mini-festival of contemporary music and media arts
http://www.microstraava.tk/

 red room :

scaepers [.lv - .by]
gonzo & macrome [martinez gonzalez.com]
invector [.lv]
kriipis tulo [.lv] [tulo.org]
gintas k [.lt] [cronicaelectronica.org ]
ingarin's [.lv]
rkha [.lv]

blue room:

kriipis tulo (dj set) [tulo.org]
lost volume [.lv]
sound meccano (dj set) [.lv]
pooka [podavaax.tk]
brannslokker [podavaax.tk]
invector (dj set) [.lv]

video:

asnate ribena [.lv], marijus sagulinas [.lt], i_bo johansson [kooperativs
shmerli.lv], mutal [.lv], gonzo & macrome [.lv], spiderman [.nz], wickiss
[liquids.lv], closer view [.lv]


----- Original Message ----- 
From: "Plagasul" <xxxxxxxx@xxxxx.xx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, February 21, 2005 7:21 PM
Subject: [microsound] Petition


Hello.

I am planning a trip for the weekend of the 4th, March, and i would like to
know if there is anything interesting going on around Europe involving arts
or sound, or both.

After frustrating googleing i found that emailing the list members could be
a fast an effective way of getting such an information.

Any help or guidance will be greatly appreciated.

Thank you!


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From ???@??? Fri Feb 25 19:59:21 2005
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i created from and will improvise upon fragments of
artaud's voice for this unsound body performance in SF
tonight and tommorrow... 



"wife, life, tripe, damnit and THAT"
a performance of electro-acoustic sounding of the
unsound body 
by Djalma Primordial Science
dedicated to the spirit of Antonin Artaud
February 25, 26, 2005 at 8pm, 
Jon Sims Center for the Arts, 1519 Mission Street, SF,

$12, tel: 415-554-0402, www.jonsimsctr.org 
 www.djalma.com 

"Then you will teach him to dance inside out/ as in
the delirium of our accordion dances/and that inside
out will be his true side out"

Based in part on the banned 1948 radio-broadcast of
French surrealist poet Antonin Artaud’s "To Have Done
With The Judgement Of God", this work by Djalma
Primordial Science cleaves to the roots of Artaud’s
hallucinatory prophecies. The famous French poet was
submitted to brutal electro-shock therapy during WWII
and yet emerged to write and perform his greatest
works which are drawn from in this presentation by
Djalma Primordial Science. 

"wife, life tripe, damnit and THAT" is a work with
teeth and current political relevance as Artaud’s
monologue concerns the imagined practice of the
American public schools usurping the seminal fluid of
male students for the artificial cloning of armies to
spread the superiority of American products throughout
the world. Performed first by Artaud in 1948 on the
eve of the Cold War, this work today sounds fresh,
almost written into the present climate of
war-mongering and consumerism, as if no time had
elapsed at all. The original radio broadcast has been
digitally stretched, spliced and manipulated by by
Jeff Gburek and this new treatment of the text is
supplemented by improvised textures on prepared
guitars and live signal processing.

Although the text presents Artaud’s vision, the work
of movement theater artist Ephia explores the feminine
elements of Artaud’s personality which emanated into
his writings during his electro-shock therapy and came
to be called "the unborn daughters of my heart". These
semi-fictional daughter/lover/warrior/liberator--s,
these innocent and filthy girls endure great hardships
in their attempt to liberate their lover/father.
Neneka is the youngest daughter, hence simultaneously
the oldest, as this was also the name of Artaud's
Turkish grandmother. Neneka is a fetal kitten slipped
from the womb too soon, a spill on the floor, a
formless body and dripping caul, a smudge. She is
discovered in "the puddle state of electro-shock," a
terrifying place of trembling void. 

"And my whole inward electric body, the whole lie of
this inward electric body which for a certain number
of centuries has been the burden of every human being,
turned inside out, became like an immense turning
outward in flames, monads of nothingness bristling to
the limits of an existence held prisoner in my lead
body, which could neither get out of its lead coating
nor stand up like a lead soldier." 

The extensive research for "wife, life, tripe, damnit
and THAT" took Djalma Primordial Science to Mexico’s
Sierra Tarahumara in October 2003. Artaud visited the
Tarahumara Indians in the 1930’s seeking to learn
about the visionary experiences of those who "eat
right out of the earth the delirium that gave birth to
them" and whose vigorously physical spirituality
Artaud thought offered a remedy to Western
technological decadence. "wife, life tripe, damnit and
THAT" a site-specific performance dedicated to the
spirit of Artaud premiered April 25, 2004 in Austin,
TX at a welder's studio: large machines looming, metal
pipes bursting with flames. The next incarnations of
this project appeared September 23, 2004 in
Birmingham, AL at Omni Studios the site of an old
slaughter house, October 21, 2004 in New Orleans, LA
at The Jewel Gallery the site of an old brothel, and
October 29, 2004 in Phoenix, AZ in Teatro Caliente
Festival.

Further incarnations will appear in 2005:
January 31, February 1, 2005 The LIDA Project Theatre,
2180 Stout St., Denver, CO
February 25, 26, 2005, Jon Sims Center for the Arts,
1519 Mission Street, San Fransisco, CA. 
March 8, 2005 at NISUS/Galeria Galou, 237 Kent Ave.
Williamsburg, Brooklyn, NY 
March 13, 2005 at Meet Da Lama Festival, Copenhagen,
Denmark

DJALMA PRIMORDIAL SCIENCE:
DJALMA PRIMORDIAL SCIENCE is the seven year
collaboration of dancer Ephia and experimental
musician Jeff Gburek. Intensely committed to
improvisation (as a way of life) their unpredictable
approach to performance constantly seeks to deepen and
defy itself. "Our unsound bodies can be found within
the low rumbling of the wind, within the shuddering
and irregularly-shaped space of the heart’s murmur."
Djalma’s process begins with elemental transformation
of the body: the dancer’s bones reluctantly wring
themselves out leaving a trail of moisture on the
brow, her limbs become delicate tissue paper catching
fire, her form evaporates and condenses again. Like
the origin of sound in movement: the dance is not only
seen but felt, transmitted directly from the body of
the mover into the body of the viewer. 
Jeff Gburek correlates his work with reconfigured
guitars, field recordings and altered electronic
sources to the physical search of the unsound body as
Ephia practices it. Body (extended) becomes ear
entering an (in)animate realm of subtly shifting
textures, iso-events and disruptions that impel the
clattering machinery of dream, a terrain of
chaotically ordered microcosms, cuts concealing grain.

Accent is placed on receiving from the environment
rather than producing. The works of Djalma Primordial
Science---appearing throughout the United States and
Europe in theaters, galleries, music venues, derelict
buildings, gaping holes in the earth-- draw on the
particulars of landscape and architecture in order to
dismantle and reconfigure the illusory SPACE of
"theater" into a real situation of intensely felt
experience. For more information please visit:
www.djalma.com 

PRESS: 
"Djalma Primordial Science is making real art. They
have been using a hammer for a flute now for years,
and are very skillful at making use of the new
language the tools suggested to them. It may take an
audience member a while to get used to this new
language, but drinking in the syntax fundamentally
alters the way you breathe, the way you are… This work
doesn’t try to make friends; it is exactly what it is,
just as a hurricane or an oil spill is what it is.
Ephia takes her body apart and puts it back together
wrong, so that her hand receives the messages the
spleen was supposed to get, so that the eyes are in
the soles of the feet, leaving her blind and
trembling. We go with her on the journey of this new
body across the room, and back again, and across the
room, and back again, because the journey is not
through space but through states of being. In a way
this is journalism, a clear communication of the news
from a foreign country."---Alexander Fearnside,
Albuquerque Magazine

"Fascinating sense of instrumentation and
undissectable movement: hypnotic and dreamlike until a
pitch of physical and sonic intensity forces you to
look around the audience to see who is going to
crack...a captivating work which really challenges the
boundaries of the observer’s consciousness." Professor
Eugene Douglas, Department of Theater and Dance,
University of New Mexico. 

ARTIST BIOS:
Ephia studied dance with Min Tanaka , Kazuo and
Yoshito Ohno, Anzu Furukawa, and Akira Kasai.
Following her interest in ritual dance, she traveled
to study under reknown teachers in Ghana, Java and
Bali. She holds a BFA in dance from Columbia
University (NYC). She danced in the company of the
late Anzu Furukawa in Berlin, appearing in Furukawa’s
final production, Goya: La Quinta del Sordo. In 1998,
she began her collaboration with musician Jeff Gburek.
In the seven years of consistent performance and
teaching with Djalma Primordial Science, Ephia’ s
deeply physical practice has gradually been recast as
the UNSOUND BODY, characterizing her concentrations on
instability, frailty and magma as movement imperatives
and her strong desire to scratch away the veil of
illusion from theater, leaving a spare and potent
bodily encounter within the shifting landscapes of
sound, time, and place. Her production Null Achtzehn,
a requiem for the nameless victims of the WWII
Holocaust, has appeared in the theaters of Germany,
Italy, and Poland. Djalma Primordial Science was a
company in residence at the Tricklock Company's
Revolutions International Theater Festival 2002. They
performed the 12-hour-long Naufragio Ballante at The
Land/ an art-site. After an extensive tour of the U.S.
in 2004, their production MYOPIA the secret boxcars of
pubescence was presented in Amsterdam in conjunction
with an Excavations within the Unsound Body workshop
sponsored by PIA. Current undertakings include the
transmedia project ASYLUM: a study of place/ghost and
Wife, Life, Tripe, Damnit & THAT, an homage to Antonin
Artaud featured in Teatro Caliente Festival 2004 in
Phoenix. In addition to their annual seven day
workshop in the desert of New Mexico, INTEGRATING
WITH/DISINTEGRATING INTO THE LAND, they regularly lead
workshops for actors, dancers, therapists, and all
those interested in unleashing a deep internal
expression. 

Jeff Gburek has been playing guitars for 29 years and
has been performing widely throughout Western Europe
and the USA. During the 80’s he developed a
personalized steel-string acoustic style influenced by
Indian raga and Arabic maqamat, providing the
technical backdrop for his more challenging table-top
guitar & electro-acoustic treatments. He employs
traditional & prepared guitar techniques, along with
signal processing and field recordings, to create a
blend of improvisational-compositional music drawing
on the processes of musique concrete and the
philosophy of the unsound body, crossing and
re-crossing imaginary boundaries in sound. He studied
Javanese gamelan with Pak Suhardi in Yogyakarta and
has performed with gamelan ensembles in Cirebon, Jogja
& NYC. Other projects include the Berlin-based
electro-acoustic trio ZYGOMA with percussionist
Michael Vorfeld and sampling by Michael Walz.
Additional appearances with reknown East German
trombonist Konrad Bauer and English guitar pioneer
Keith Rowe, confirm a continual interest in European
experimental music. In the USA, he has worked with
Indian sitarist Neel Murgai, Kyle Bruckmann, Chris
Forsyth and Daniel Carter and recorded the Javanese
rebab for Indian dj Nitin Sawhney. A CD of guitar
solos and electro-acoustic compositions called
ENERGARIUMS has just been released by the German label
NUR/NICHT/NUR. (visit www.energariums.com for ordering
info). His 10 Improvisations for Shortwave Radio was
broadcast as part of the Nonsequitur Foundation's
AetherFest 2003, an international festival for radio
art. O’um Kasr, Mother of All Ports, Track 3 from
Energariums, is part of the touring exhibit Del
Acuerdo Y Del Conflicto in Spain which is going to
Cuba next. new reviews at bagatellen.com    





                
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From ???@??? Fri Feb 25 19:53:21 2005
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From: jeff gburek <xxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Berlin
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I am playing a concert at a new venue for experimental
sound called Zibirische-Zelle on March 25, they have
website you can google for. google also for
echtzeit.com for many other interesting music events,
notably those at ausland, kule, podewil, the
staalplaat shop etc....
best, jeff gburek

Hello;

I'm planning a trip to Berlin from 22.03 to 26.03 and
I just wanted to 
ask if there is any interesting concert or show
planned during this 
days... Also if someone from Berlin can make a brief
list of the main 
music shops there I would greately appreciate it.

Thanks in advance.

-- 














































































































































































--- Richard Whitelaw <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
wrote:

> BARRY ANDERSON BURSARY
> Grass roots funds for artists working in the UK.
> 
> A small award of £150 is available each month for
> Sonic Arts Network members
> presenting work in their local regions (Not a
> member? Visit
> www.sonicartsnetwork.org for details). These funds
> are intended to help with
> the costs of staging an event. The money can be used
> to pay for the hire of
> a venue, some equipment, the production of
> promotional materials like flyers
> or with some advertising, travel expenses, the fees
> of a guest artist or
> other costs associated with producing a small-scale
> event.
> 
> In line with our commitment to offer members the
> chance to help shape Sonic
> Arts Network, this will be an opportunity for you to
> decide who will receive
> the bursary. Members will select the monthly project
> that will be awarded
> funding through a process of online voting. Only one
> application will be
> successful each month and the event must take place
> within 3 months of
> submitting your proposal.
> 
> The Bursary is in memory of Barry Anderson, a
> founder Chair of EMAS (the
> former name of Sonic Arts Network) in 1979. Anderson
> was an accomplished
> composer and also music director of the West Square
> Electronic Music
> Ensemble based at the West Square Studios at Morley
> College. The open access
> evening classes he ran there, which mixed
> established professionals with
> enthusiastic starters, were glued together with
> Barry's infectious
> enthusiasm, endless energy and a real commitment to
> public performance.
> 
> ³I met Barry after a West Square concert at St.
> John's Smith Square, I guess
> in about 1976. We shared a passion for live
> electronics and  performance and
> I remember the concert included Barry's own work
> 'Mask' which combined
> performers, tapes & electronics performed from 
> behind a huge Maori-inspired
> mask from his native New Zealand. We had ten years
> of great work ahead as
> close friends, as well as colleagues  on the EMAS
> committee, sharing the
> IRCAM composers course in 1981 which led to his
> extensive work there in the
> early and mid 1980s. His death in 1987 deprived us
> of a great musician and
> music director.
> 
> His friendship and support for young composers and
> performers need not live
> on only in dusty programme notes but can continue
> through these bursaries in
> his name.²
> 
> Simon Emmerson
> 
> visit www.sonicartsnetwork.org for more information
> 
> 
>
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From ???@??? Fri Feb 25 18:18:14 2005
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Date: Fri, 25 Feb 2005 10:17:28 -0800
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Subject: Re: [microsound] Biofeedback artists?
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 FILETIME=[F8610850:01C51B66]

I tend to disagree, since context and machinery are largely objective 
perspectives, alterable and insignificant, especially considering the 
outlook of the individual (insert here arguments about what is art, 
etc... I'm sure that's shown up on this list more than once). I 
personally don't believe art has a need to be present[ed|able]. It's 
very credible, in my view, that an EKG display on its own can be art.

On Feb 25, 2005, at 9:10 AM, Scott Carver wrote:

> Art always relies on technology (especially the kind of art we're 
> inclined to talk about on microsound)... but I'm skeptical of the 
> extent to which art can be nothing BUT technology. I find it difficult 
> to imagine eeg's, galvanic skin response graphs, other such bodily 
> data /by itself/ as being art, no matter how beautifully the data is 
> rendered, regraphed, played back as sound, projected on the wall, etc. 
> That's not to say that these kinds of data can /never/ be used for 
> art, but they seem to need more context, more machinery, than this.


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From ???@??? Fri Feb 25 17:49:19 2005
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Hi,

check out the work of Carl Michael von Hausswolff.
He did a exhibition with all the archives and materials from Jürgenson at the Portikus
in Frankfurt/Germany.
There was a book and CD release in conjunction with the exhibition:

VOICE TRANSMISSIONS WITH THE DECEASED, Firework Edition
Friedrich Jürgenson - from the Studio for Audioscopic Research 

http://www.portikus.de/ArchiveA0125.html

www.fireworkedition.com/

http://parc.web.fm/catalogue.html

all the best

Bernhard




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Jetzt bei WEB.DE FreeMail: http://f.web.de/?mc=021193


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From ???@??? Fri Feb 25 17:10:13 2005
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Art always relies on technology (especially the kind of art we're 
inclined to talk about on microsound)... but I'm skeptical of the 
extent to which art can be nothing BUT technology. I find it difficult 
to imagine eeg's, galvanic skin response graphs, other such bodily data 
/by itself/ as being art, no matter how beautifully the data is 
rendered, regraphed, played back as sound, projected on the wall, etc. 
That's not to say that these kinds of data can /never/ be used for art, 
but they seem to need more context, more machinery, than this.

- Scott Carver

On Feb 25, 2005, at 8:54 AM, Craque wrote:

> Why should the amount of technology involved define the relative 
> 'artisticness' of a work? Some art is nothing BUT technology - 
> especially music these days. Plenty of art relies heavy on technology; 
> of course this also depends on what you define as 'technology.'


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From ???@??? Fri Feb 25 16:55:11 2005
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Why should the amount of technology involved define the relative 
'artisticness' of a work? Some art is nothing BUT technology - 
especially music these days. Plenty of art relies heavy on technology; 
of course this also depends on what you define as 'technology.'

On Feb 25, 2005, at 4:54 AM, Richard John Brill wrote:

> Hello List,
>
> I'm writing a thesis on biofeedback sound installation and the science 
> and technology behind it. What are your views on the subject, i.e., do 
> you think that installations based on biofeedback technology can be 
> called artistic if they rely too much on the technology?, such as 
> Electroencephalograms, galvanic skin respone, and other general 
> biofeedback technology.
> Thanks,
>
> Rbrill
>
>
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hello pol,

*for record shops:

dense,  Danziger Str. 16. (dense.de)
staalplaat,  Torstr. 72 (staalplaat.com)
hardwax, Paul-Lincke-Ufer 44a (hardwax.de)

the first two rather on the "experimental" side, with lots of cds and
some vinyls, the latter is a mythical techno shop, with mostly vinyls.


*for concerts, check these websites, or ask the above shops:

ausland-berlin.de (great venue)
music-scan.de/nbi 
echtzeitmusik.de (calendar for improv concert)
for clubbing, check de-bug.de/dates, and usual clubs (clubmaria.de,
wmfclub.de, berghain.de...)

have a nice time in berlin, and don't hesitate to ask for more details!

jérémy

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Hello List,

I'm writing a thesis on biofeedback sound installation and the science and technology behind it. What are your views on the subject, i.e., do you think that installations based on biofeedback technology can be called artistic if they rely too much on the technology?, such as Electroencephalograms, galvanic skin respone, and other general biofeedback technology.
Thanks,

Rbrill


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From ???@??? Fri Feb 25 11:32:20 2005
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Date: Fri, 25 Feb 2005 11:32:07 +0000
From: Richard Whitelaw <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: [microsound] SAN announces Barry Anderson Bursary
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BARRY ANDERSON BURSARY
Grass roots funds for artists working in the UK.

A small award of £150 is available each month for Sonic Arts Network members
presenting work in their local regions (Not a member? Visit
www.sonicartsnetwork.org for details). These funds are intended to help with
the costs of staging an event. The money can be used to pay for the hire of
a venue, some equipment, the production of promotional materials like flyers
or with some advertising, travel expenses, the fees of a guest artist or
other costs associated with producing a small-scale event.

In line with our commitment to offer members the chance to help shape Sonic
Arts Network, this will be an opportunity for you to decide who will receive
the bursary. Members will select the monthly project that will be awarded
funding through a process of online voting. Only one application will be
successful each month and the event must take place within 3 months of
submitting your proposal.

The Bursary is in memory of Barry Anderson, a founder Chair of EMAS (the
former name of Sonic Arts Network) in 1979. Anderson was an accomplished
composer and also music director of the West Square Electronic Music
Ensemble based at the West Square Studios at Morley College. The open access
evening classes he ran there, which mixed established professionals with
enthusiastic starters, were glued together with Barry's infectious
enthusiasm, endless energy and a real commitment to public performance.

³I met Barry after a West Square concert at St. John's Smith Square, I guess
in about 1976. We shared a passion for live electronics and  performance and
I remember the concert included Barry's own work 'Mask' which combined
performers, tapes & electronics performed from  behind a huge Maori-inspired
mask from his native New Zealand. We had ten years of great work ahead as
close friends, as well as colleagues  on the EMAS committee, sharing the
IRCAM composers course in 1981 which led to his extensive work there in the
early and mid 1980s. His death in 1987 deprived us of a great musician and
music director.

His friendship and support for young composers and performers need not live
on only in dusty programme notes but can continue through these bursaries in
his name.²

Simon Emmerson

visit www.sonicartsnetwork.org for more information


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From ???@??? Fri Feb 25 11:08:09 2005
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From: Doran Massey <xxxxx_xxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] New York university???
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 FILETIME=[44B24F80:01C51B2A]

I'm not sure what school level you're at so its hard to say specifically 
what programs might work for you.  I'm almost through with an MFA in Studio 
Art at NYU.  I chose it because it's a very free, self-directed program and 
I could draw on the classes, professors, & visiting artists of NYU as well 
as Columbia U., Princeton U, Yale, CUNY Brooklyn & Rutgers U.  Though I 
haven't used the other schools much.

Some centers you might find interesting:

NY area:
NYU:  http://education.nyu.edu/depts/art/pages/7 
http://itp.tisch.nyu.edu/page/home
http://depthome.brooklyn.cuny.edu/art/frames/academic.html
http://www.nydigitalsalon.org/

Close to NYC:
Brown - RISD
http://www.arts.rpi.edu/index02.php

West Coast
http://www.calarts.edu/schools/music/programs/composition-newmedia.html
http://www-crca.ucsd.edu/
http://www.mills.edu/LIFE/CCM/CCM.homepage.html
http://www.washington.edu/dxarts/
http://www.mat.ucsb.edu/matWeb/findex.html

Other:
http://www.artic.edu/saic/programs/depts/graduate/sound.html

Do you know Jose Carlos Teixeira from Porto?  He didn't like NYU & is at 
UCLA now.

----- Original Message ----- 
From: "Filipe Galante" <xxxxxxxxxxxxx@xxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Thursday, February 24, 2005 8:08 PM
Subject: [microsound] New York university???


> Hey microsounders!!!!
> I´m a portuguese musician/student and I´m very interested in keep on 
> studying this area.
> I´ve been studying sound and image in Porto, Portugal, and now I´m in 
> London doing Sonic Culture, but my need for knowdlege does not stop so Im 
> thinking of moving next year to New york and keep on studying.
> I´m probably going on the erasmus programme and I´d like to know if any of 
> you know any good university (preference for NY) that relates to this 
> emerging currentes of digital art and sound, I´m very interested in music 
> but I want nothing to do with composition, I´m more into the relationship 
> between the new digital media and specially sound.
> So if any of you knows anything about this please reply - I´ve been 
> searching on the web but still havent found anything suitable, sometimes a 
> good tip is the best way to go, specially when u trust the source.
>
> Thanks you
> Keep on rocking this incredible forum
> Filipe Galante A.K.A PIXEL82
>
>
>
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From ???@??? Fri Feb 25 10:37:28 2005
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Subject: Re: [microsound] futurists and fascists (was us citizens... (OT)
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if i remember well, Marinetti (considered as the father of futurism)became from the begining of italian fascism one of its most radical element in the futurist movement. He remained with the Salo republic - which can be considered as a political suicide - he approved the destruction of some really ancient borroughs in italian cities, and also depicted idyllic  visions of the war trough paintings representating planes, bombs, etc... But surely they weren't all fascists : Luigi Russolo ("the art of noise")
didn't join at all fascism...


----Message d'origine----
>Date: Sat, 06 Nov 2004 08:29:16 -0600
>De: Gregory Taylor <xxxxxxx@xxxx.xxx>
>A: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Sujet: [microsound] futurists and fascists (was us citizens... (OT)
>
>It could be and has been argued that the futurists were willingly
>co-opted by the Fascists (I believe that a lot of this concerns
>their participation in... um... I think it's the Quattrocentro exhibition
>in um... 1933 or so? (Sorry. I'm in Miami a great ways away from
>my library.), and the extent to which one could read the earlier
>work and see or not see this co-optation as something inevitable
>is, similarly, posited and debated by historians and scholars.
>
>Such work is, apparently, complicated by the fact that the view of
>some futurists as collaborators was sufficiently widespread in the
>years following the second world war that the participants' work
>fell into fairly serious obscurity. I heard an interesting talk by
>Richard Kerby (who authored the very interesting and, happily,
>back in print book "Futurist Performance," which to my knowledge
>featured the first English translations of a number of theoretical
>writings of the futurists) about the circumstances under which he
>found and gathered the research that informed "Futurist Performance."
>While people generally in groups like this bemoan the "loss" of
>the intonarumori (and some basic idea of what was actually IN
>some of those boxes), much more has been lost to us.
>
>While I can's say I've really got a dog in this fight at this point
>(although I was somewhat more committed to the notion that
>the co-optation of futurism was important during the first heady
>days of industrial music, when a fair number of persons who
>were largely ignorant of the movement's history appeared to
>uncritically embrace futurism), I would probably hazard a
>guess that the larger lesson to be drawn might lie in considering
>if (and how) their work *was* co-opted, and how such might also
>be *our* lot.
>
>
>
>
>
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From ???@??? Fri Feb 25 08:08:10 2005
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Date: Fri, 25 Feb 2005 09:07:40 +0100
From: Pol <xxx@xxxxxx.xx>
Subject: [microsound] Berlin
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Hello;

I'm planning a trip to Berlin from 22.03 to 26.03 and I just wanted to 
ask if there is any interesting concert or show planned during this 
days... Also if someone from Berlin can make a brief list of the main 
music shops there I would greately appreciate it.

Thanks in advance.

-- 
********************************************************************
Pol Santacana Ametller
Comunidad de Profesionales Internet, S.A.
http://www.ictnet.es
--------------------------------------------------------------------
-How important is the concept of light in the making of your music ?
-In darkness, it is hard to find the switches

Ilpo Vaisanen, Pan Sonic
********************************************************************


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From ???@??? Fri Feb 25 08:00:55 2005
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From: Neil Wiernik <xxxx@xxxxxxxx.xxx>
Subject: [microsound] reminder - BETA_LAB - Feb 26th 2005 - MTL
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PHONIQ presents BETA-LAB

when: saturday february 26th 2005
where: la salle d'attente (the back room of cafe esperanza)
5490 st-laurent, montreal, canada
time: 9pm - 3am
how much: FREE

BETA-LAB is  a monthly night of electronic music collaberation and
experimentation
featuring phoniq resident artists: naw, cyan, scant intone, various, anton
along side a variey of monthly guests.

This month's BETA-LAB will feature:
Heart & Soul - Live - esoterik
NAW V.S. Anton - live - antontrax.com/noisefactoryrecords.com
Bopp - laptop DJ - bopp.ca


for more info visit: www.phoniq.net

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

PRESS RELEASE

The PHONIQ collective brings you another twist on another year of
electronic music showcases. This time around PHONIQ is happy to present
BETA-LAB a monthly showcase of electronic music collaberation and
experimentation. BETA-LAB will focus on teaming up resident PHONIQ artists
with other members of the canadian electronic music community.
BETA-LAB is a space for experimentation to try out new ideas, for artists
to try out new ideas, projects, collaberations. a testing ground for
laptop artists, hardware musicians, djs and video artists a like.
every month a different project or projects will be presented. each of
these events are designed to act as an exploration into the different
intersections between  technology and
music/art making. BETA-LAB is not designed to feature one artist in
 particular but to act more as an equal testing ground for all, for both
the performer and the audience member.
the BETA-LAB series is about an ever changing creative process, each
months event details will be announced at www.phoniq.net

BIOS/INFO

PHONIQ
www.phoniq.net
phoniq is a collective of individuals dedicated to promoting bleeding edge
electronic music/art in interesting variable environments, with  an
emphasis on exposing aural and visual talent that has not yet been exposed
to the electronic arts communities of montreal and canada. we aim to
showcase upstart music producers, djs, and emerging visual artists all
working in electronic realms. our foremost goal is to showcase off the
wall and raw genres of music and visual electronic arts- not just those
that are currently "en vogue" or will be shortly.

the concept for phoniq came together through the chance meeting of 2
active members of the montreal/canadian electronic music and digital arts
community: ckut-fm dj/host cyan and dub glitch techno producer naw. phoniq
has grown out of the combined histories of these 2 individuals. naw brings
the clonk legacy that he created 6 years ago in toronto, which hosted such
artists as: monolake, kit clayton and sutekh. cyan brings her ongoing
involvement in community radio, event coordinating and
dj talents.

since then the collective has grown to include 5 core members
responsible for keeping things running. after 6 short months, phoniq has
grown from an idea of "how can we create a viable promotional vehicle  for
canadian electronic artists", into a music series, a net-label, an active
community
mailing-list and a canadian electronic music resource.

HEART & SOUL
Humanity receives hundreds of cosmic signals on a daily basis. Of these,
certainly the most complex come from a place simply known as Planet
Nebula.Chief among the Nebular codebreakers here on Earth is the team of
Heart & Soul. Their working methods combine the pioneering inter-planetary
research of the eminent Dr. Blowfin, the study of subterranean, or
underground, wave-form activity, a careful monitering of circle makers, as
well as their previously established Solar Mist Approach. The H&S team are
working towards a comprehensive decryption program for the Nebular codes
and a better understanding of what they can mean for us.

BOPP
www.bopp.ca
Montreal based Laptop DJ Bopp currently plays the "Deep Fried Daze"
netradio show on netmusique.com every friday at 4 pm.


NAW
www.noisefactoryrecords.com
montreal native neil wiernik began his explorations in electronic music
making as early as 1988. known to push the boundaries of his musical form,
naws music is a blend of sound manipulation/design, experimental music and
dub-tech rhythms, which on the surface sound quite simple, but incorporate
a number of touches that steer this artist away from being simply another
minimal techno or experimental laptop artist. he combines post-house,
dubby minimal techno, microsound and thick ambience, to create his own
version of deep techno, house and other electronic laptop oriented musics.
neil has released music on various national and international record
 labels, including recent releases on clever-music, and his follow up full
length to his 2002 noise factory release called green nights orange days.
he has recently returned from tours in france, germany, and canada.to
co-enside with his recent releases on these labels and plans to return to
europe this summer for more tours including a performance at the now
legendary sonar festival in barcelona, spain.

ANTON
www.antontrax.com
recently relocated to montreal from the west coast, anton has been
refining his sound since 1999.
in an era where most are abandoning their hardware to go the software
route, anton has taken advantage of cheap pawn-shop synths and samplers,
made obsolete by economic cycle, but still rich with potential.
his signature sound features emotive melodies,
lush minor chords, and distant textures. as somewhat of a reaction to the
clean computer-based sound prevalent today, antons music tends to be
rough, gritty, and deeply compressed. the influence of the environment of
the west coast of canada has certainly left its mark.





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From ???@??? Fri Feb 25 01:59:44 2005
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Date: Thu, 24 Feb 2005 21:07:43 -0500
From: Al C <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] New York university???
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on 2/24/05 8:08 PM, Filipe Galante at xxxxxxxxxxxxx@xxxxxxx.xxx wrote:

> Hey microsounders!!!!
> I´m a portuguese musician/student and I´m very interested in keep on
> studying this area.
 
> I´m probably going on the erasmus programme and I´d like to know if any of
> you know any good university (preference for NY) that relates to this
> emerging currentes of digital art and sound,
> Filipe Galante A.K.A PIXEL82
 
Hi Filipe,

Not a University per say but a very good place to learn. Hope it helps.

http://www.harvestworks.org/


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From ???@??? Fri Feb 25 01:10:41 2005
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Date: Fri, 25 Feb 2005 01:08:05 +0000
From: Filipe Galante <xxxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] New York university???
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 FILETIME=[97124E50:01C51AD6]

Hey microsounders!!!!
I´m a portuguese musician/student and I´m very interested in keep on 
studying this area.
I´ve been studying sound and image in Porto, Portugal, and now I´m in London 
doing Sonic Culture, but my need for knowdlege does not stop so Im thinking 
of moving next year to New york and keep on studying.
I´m probably going on the erasmus programme and I´d like to know if any of 
you know any good university (preference for NY) that relates to this 
emerging currentes of digital art and sound, I´m very interested in music 
but I want nothing to do with composition, I´m more into the relationship 
between the new digital media and specially sound.
So if any of you knows anything about this please reply - I´ve been 
searching on the web but still havent found anything suitable, sometimes a 
good tip is the best way to go, specially when u trust the source.

Thanks you
Keep on rocking this incredible forum
Filipe Galante A.K.A PIXEL82



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From ???@??? Thu Feb 24 22:19:34 2005
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Date: Thu, 24 Feb 2005 23:18:34 +0100
From: fantasmagramma / Phon <xxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] Phon + fantasmagramma @ Raum - Bologna
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Friday, february 25 h 22,00 @ Raum, via Ca' Selvatica 4/d, Bologna (Italy) -free entry-
 

Phonorama, event curated by Nico and Corrado Senscibai, presents:

 

Phon [label launch] | fantasmagramma [performance]

Phon is a new music label based in Bologna, Italy, founded by Francesco Leoci and Marco Leoci, focused in releasing electronic sound works developed through radically experimental compositional formulations and a creative use of audio software and new tools.

In this event will be presented the first label release, Oblique Ephemeral Topology, a cd-split including three new compositions realized by fantasmagramma (it), schurer (ch), kim cascone (u.s.a.).

Immediately following, fantasmagramma will perfom their new set of minimalist computer music. 

 

www.phon-label.com
www.xing.it/raum.html 
www.fantasmagramma.com
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From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] CONTENTS ONDA SONORA 23/02/05
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ONDA SONORA, Madrid (ES)
Radio Círculo de Bellas Artes 100.4 FM -
Miércoles/Wednesday 15h - www.circulobellasartes.com 
Radio Autónoma 88.8 FM - Mar-Jue/Tue-Thu 16h -
www.uam.es/ra
Escucha en directo a cualquier hora / Listen live real
time - www.ondasonoraradio.com
_________________________________

CONTENTS ONDA SONORA 23/02/05

01. ALVA NOTO
Track: Remodel
Album: Transvision (Transall)
Label: Raster-Noton

Comenzamos el programa de esta semana con el corte que
abre "Transvision", uno de los nuevos trabajos de
Carsten Nicolai en el sello Raster-Noton, para una
serie titulada "Transall" que incluye 3 eps de 21
minutos de duración. Brillantemente diseñados por
Nicolai en formato mini cd, pretenden ser un reflejo
de las modernas sociedades occidentales, tratando
temas como la velocidad ("Transrapid"), la visión
utópica del mundo ("Transvision") y la disolución de
ideas en fragmentos ("Transspray")

We begin our weekly playlist with the track that opens
"Transvision", one of Carsten Nicolai's new works in
the Raster-Noton imprint, for his "Transall" series,
that include 3 eps of 21 minutes long. Brilliantly
designed by Nicolai in mini-cd format, they position
themselves as a reflection of the modern western
societies, abording subjects such as speed
("Transrapid"), the utopian vision of the world
("Transvision") and the breakup of ideas into
fragments ("Transspray")

02. ALVA NOTO
Track: Funkbugfx
Album: Transrapid
Label: Raster-Noton

Este es precisamente el corte que abría el primero de
los eps de la serie de Alva Noto, "Transrapid", en el
que se relaciona la velocidad de nuestros días con el
contínuo flujo de datos e información que saturan los
sistemas

This is the track that opens the first of the eps in
Noto's Transall series, Transrapid, in which the speed
of our days is related to the continiuos flow of data
and information saturating the systems

03. BIBIO
Track: I'm Rewinding It....
Album: Fi
Label: Mush

Debut de Stephen Wilkinson con el nombre Bibio, un
disco que parte de samples de baja calidad a los que
añade instrumentación en directo, grabaciones de campo
y muchos efectos y manipulaciones. Este es uno de los
17 cortes compuestos para un álbum titulado "Fi" que
edita el sello norteamericano Mush Records, plataforma
de operaciones para muchos proyectos paralelos que
tienen que ver con Anticon

Debut album for Stephen Wilkinson with the nickname
Bibio, a record departing from low quality samples
with some posterior addings, such as live
instrumentation, field recordings and some effects and
manipulations. This is one of the 17 tracks composed
for an album entitled Fi, released in the North
American label Mush Records, operation platform for
many parallel projects around Anticon

04. STEPHAN MATHIEU
Track: Theme For Oud Amelisweerd
Album: The Sad Mac
Label: Headz

Nuevo trabajo del compositor alemán Stephan Mathieu
editado por la compañía japonesa Headz, que viene
lanzando ultimamente trabajos de renombrados artistas
europeos (Rafael Toral, Fennesz...) y norteamericanos,
como David Grubbs, Sam Prekop o Jeff Parker. "The Sad
Mac" es el título del nuevo album de Stephan Mathieu,
en el que muta su estilo compositivo hacia una
combinación de instrumentación real, grabaciones de
campo, música barroca y -menos- computadoras

New work by the German composer Stephan Mathieu
released in the Japanese company Headz, that keeps on
publishing renowned European artists (Rafael Toral,
Fennesz...) and North American (David Grubbs, Sam
Prekop, Jeff Parker). The Sad Mac is the title of
Stephan Mathieu's new album, in which somehow changes
his compositive style towards to a combination of real
instrumentation, field recordings, Baroque music and
-less- computers

05. LARSEN
Track: 6
Album: Play
Label: Important

Nos marchamos a Italia con un combo eléctrico llamado
Larsen,  que presentan un disco de instrumentales
hipnóticos y delicados inspirados en Autechre, en
quienes basaron la música de un trabajo compuesto a
partir de improvisaciones sobre sus cortes favoritos
del dúo británico. Play es su cuarto álbum, ha sido
recientemente editado por Important Records desde
Massachussets

We leave to Italy with an electric outfit called
Larsen, that present a record of hypnotic and delicate
instrumentals inspired by Autechre, who served as
musical base to compose this work starting from
improvisations on their favorite tracks from the
British duet. Play is their fourth album, it has been
recently released by Important Records from
Massachussets

06. AUTECHRE
Track: Lcc
Album: Untilted
Label: Warp

Vamos ahora sí con Autechre. Esto es un adelanto de su
nuevo trabajo, Untilted, casi dos años después de que
Sean Booth y Rob Brown publicaran su último álbum
hasta la fecha, Draft 7.30. Con una extensa
discografía desde 1987, el dúo de Sheffield, edita su
nuevo trabajo en Warp Records, desde el Reino Unido,
aunque el disco estará disponible una semana antes en
Japón

This are finally Autechre themselves. Advance of their
new work, Untilted, almost two years after Sean Booth
and Rob Brown published their last album so far, Draft
7.30. With an extensive discography from 1987, the
Sheffield duet release their new work in Warp Records,
from the United Kingdom, although the disk will be
available one week before in Japan

07. KNEAD
Track: 2
Album: This Melting Happiness / This melting happiness
I want you to realize that it is another trap
Label: Fractal

Knead, proyecto compuesto por el Keiji Haino,
guitarrista de Fushitsusha, junto a Tatsuya Yoshida e
Hisashi Sasaki del grupo Ruins, con su segunda
grabación, un directo desde Tokyo titulado This
Melting Happiness editado desde Francia por Fractal
Records

Knead, a project compound by Keiji Haino, guitarist of
Fushitsusha, together with Tatsuya Yoshida and Hisashi
Sasaki of the group Ruins, with their second
recording, a live one from Tokyo entitled This Melting
Happiness released from France by Fractal Records

08. SMEGMA
Track: Electron
Album: Rumblings
Label: Hanson

Banda de free noise formada en los años 70 alrededor
de la Sociedad de Música Libre de Los Angeles, que
ellos mismos ayudaron a formar. Smegma regresan con su
primer disco en casi una década, sin contar su
reciente colaboración con Wolf Eyes. Rumblings es un
collage sonoro editado por Hanson Records y compuesto
por grandes dosis de improvisación, free jazz y rock
en un entorno más que ruidoso, con la colaboración del
músico y escritor Richard Meltzer

Free noise band formed in the seventies around the Los
Angeles Free Music Society, that themselves helped to
form. Smegma return with their first release in almost
a decade, without counting their recent collaboration
with Wolf Eyes. Rumblings is a sound collage released
by Hanson Records and composed by big improvisation
doses, free jazz and rock in more than noisy
environment, with the collaboration of writer and
musician Richard Meltzer
______
Nota: Este mensaje no ha sido solicitado, pero
consideramos que podría interesarte. De no ser así,
responde con un mensaje titulado “borrame” y serás
inmediatamente eliminado del mailing. Muchas gracias

Note: This is an undemanded message, but we have
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from the mailing. Thank you





                
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From ???@??? Thu Feb 24 20:17:00 2005
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From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] CONTENTS ONDA SONORA 23/02/05
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ONDA SONORA, Madrid (ES)
Radio Círculo de Bellas Artes 100.4 FM -
Miércoles/Wednesday 15h - www.circulobellasartes.com 
Radio Autónoma 88.8 FM - Mar-Jue/Tue-Thu 16h -
www.uam.es/ra
Escucha en directo a cualquier hora / Listen live real
time - www.ondasonoraradio.com
_________________________________

CONTENTS ONDA SONORA 23/02/05

01. ALVA NOTO
Track: Remodel
Album: Transvision (Transall)
Label: Raster-Noton

Comenzamos el programa de esta semana con el corte que
abre "Transvision", uno de los nuevos trabajos de
Carsten Nicolai en el sello Raster-Noton, para una
serie titulada "Transall" que incluye 3 eps de 21
minutos de duración. Brillantemente diseñados por
Nicolai en formato mini cd, pretenden ser un reflejo
de las modernas sociedades occidentales, tratando
temas como la velocidad ("Transrapid"), la visión
utópica del mundo ("Transvision") y la disolución de
ideas en fragmentos ("Transspray")

We begin our weekly playlist with the track that opens
"Transvision", one of Carsten Nicolai's new works in
the Raster-Noton imprint, for his "Transall" series,
that include 3 eps of 21 minutes long. Brilliantly
designed by Nicolai in mini-cd format, they position
themselves as a reflection of the modern western
societies, abording subjects such as speed
("Transrapid"), the utopian vision of the world
("Transvision") and the breakup of ideas into
fragments ("Transspray")

02. ALVA NOTO
Track: Funkbugfx
Album: Transrapid
Label: Raster-Noton

Este es precisamente el corte que abría el primero de
los eps de la serie de Alva Noto, "Transrapid", en el
que se relaciona la velocidad de nuestros días con el
contínuo flujo de datos e información que saturan los
sistemas

This is the track that opens the first of the eps in
Noto's Transall series, Transrapid, in which the speed
of our days is related to the continiuos flow of data
and information saturating the systems

03. BIBIO
Track: I'm Rewinding It....
Album: Fi
Label: Mush

Debut de Stephen Wilkinson con el nombre Bibio, un
disco que parte de samples de baja calidad a los que
añade instrumentación en directo, grabaciones de campo
y muchos efectos y manipulaciones. Este es uno de los
17 cortes compuestos para un álbum titulado "Fi" que
edita el sello norteamericano Mush Records, plataforma
de operaciones para muchos proyectos paralelos que
tienen que ver con Anticon

Debut album for Stephen Wilkinson with the nickname
Bibio, a record departing from low quality samples
with some posterior addings, such as live
instrumentation, field recordings and some effects and
manipulations. This is one of the 17 tracks composed
for an album entitled Fi, released in the North
American label Mush Records, operation platform for
many parallel projects around Anticon

04. STEPHAN MATHIEU
Track: Theme For Oud Amelisweerd
Album: The Sad Mac
Label: Headz

Nuevo trabajo del compositor alemán Stephan Mathieu
editado por la compañía japonesa Headz, que viene
lanzando ultimamente trabajos de renombrados artistas
europeos (Rafael Toral, Fennesz...) y norteamericanos,
como David Grubbs, Sam Prekop o Jeff Parker. "The Sad
Mac" es el título del nuevo album de Stephan Mathieu,
en el que muta su estilo compositivo hacia una
combinación de instrumentación real, grabaciones de
campo, música barroca y -menos- computadoras

New work by the German composer Stephan Mathieu
released in the Japanese company Headz, that keeps on
publishing renowned European artists (Rafael Toral,
Fennesz...) and North American (David Grubbs, Sam
Prekop, Jeff Parker). The Sad Mac is the title of
Stephan Mathieu's new album, in which somehow changes
his compositive style towards to a combination of real
instrumentation, field recordings, Baroque music and
-less- computers

05. LARSEN
Track: 6
Album: Play
Label: Important

Nos marchamos a Italia con un combo eléctrico llamado
Larsen,  que presentan un disco de instrumentales
hipnóticos y delicados inspirados en Autechre, en
quienes basaron la música de un trabajo compuesto a
partir de improvisaciones sobre sus cortes favoritos
del dúo británico. Play es su cuarto álbum, ha sido
recientemente editado por Important Records desde
Massachussets

We leave to Italy with an electric outfit called
Larsen, that present a record of hypnotic and delicate
instrumentals inspired by Autechre, who served as
musical base to compose this work starting from
improvisations on their favorite tracks from the
British duet. Play is their fourth album, it has been
recently released by Important Records from
Massachussets

06. AUTECHRE
Track: Lcc
Album: Untilted
Label: Warp

Vamos ahora sí con Autechre. Esto es un adelanto de su
nuevo trabajo, Untilted, casi dos años después de que
Sean Booth y Rob Brown publicaran su último álbum
hasta la fecha, Draft 7.30. Con una extensa
discografía desde 1987, el dúo de Sheffield, edita su
nuevo trabajo en Warp Records, desde el Reino Unido,
aunque el disco estará disponible una semana antes en
Japón

This are finally Autechre themselves. Advance of their
new work, Untilted, almost two years after Sean Booth
and Rob Brown published their last album so far, Draft
7.30. With an extensive discography from 1987, the
Sheffield duet release their new work in Warp Records,
from the United Kingdom, although the disk will be
available one week before in Japan

07. KNEAD
Track: 2
Album: This Melting Happiness / This melting happiness
I want you to realize that it is another trap
Label: Fractal

Knead, proyecto compuesto por el Keiji Haino,
guitarrista de Fushitsusha, junto a Tatsuya Yoshida e
Hisashi Sasaki del grupo Ruins, con su segunda
grabación, un directo desde Tokyo titulado This
Melting Happiness editado desde Francia por Fractal
Records

Knead, a project compound by Keiji Haino, guitarist of
Fushitsusha, together with Tatsuya Yoshida and Hisashi
Sasaki of the group Ruins, with their second
recording, a live one from Tokyo entitled This Melting
Happiness released from France by Fractal Records

08. SMEGMA
Track: Electron
Album: Rumblings
Label: Hanson

Banda de free noise formada en los años 70 alrededor
de la Sociedad de Música Libre de Los Angeles, que
ellos mismos ayudaron a formar. Smegma regresan con su
primer disco en casi una década, sin contar su
reciente colaboración con Wolf Eyes. Rumblings es un
collage sonoro editado por Hanson Records y compuesto
por grandes dosis de improvisación, free jazz y rock
en un entorno más que ruidoso, con la colaboración del
músico y escritor Richard Meltzer

Free noise band formed in the seventies around the Los
Angeles Free Music Society, that themselves helped to
form. Smegma return with their first release in almost
a decade, without counting their recent collaboration
with Wolf Eyes. Rumblings is a sound collage released
by Hanson Records and composed by big improvisation
doses, free jazz and rock in more than noisy
environment, with the collaboration of writer and
musician Richard Meltzer
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 fm tonight 12-2am UK time
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hello all, 

as a follow on thingy from my art exhibition in kings
cross london, i am doing some radio shows on resonance
fm (104.4 fm dial, webstreamed also)

tonight 12-2am uk time

laters on the 'life and living show': watch
this/resonance website space

http://www.resonancefm.com

i'll be playing some older abstract...ahhh its
supposed to be a suprise........

if anyone wants jpegs from the exhibition then get in
touch. otherwise a simple google search on 

ben guiver out of my head 

will suffice.

best

ben guiver




                
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Date: Thu, 24 Feb 2005 16:55:50 +0100
From: festival garage <xxxx@xxxxxx-x.xx>
Subject: [microsound] forget it!  don't trust your archives - call for entries
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German version below. Please forward this to any individuals or mailing
lists that you feel it would be of interest to.



Call for Entries:
---------------------------------------------------------
9th festival garage in August 2005 in Stralsund / Germany
---------------------------------------------------------
forget it! don't trust your archives
---------------------------------------------------------


Data, images, sounds, terms, definitions, signs, contacts, biometrical
information, stamps ... Our culture is determined by the urge to collect and
to archive, to save and to index, to systemise and to codify. Thanks to
digitisation we are relieved of the tedious obligation to decide what is
worth preserving - we therefore save everything and decide later what we
need.

The confidence we have in the perfection of recording technologies, database
systems, search algorithms and collaborative filter mechanisms change our
reception of reality. The awareness of the ability to save and recall
everything for later use reduces our willingness to concentrate on the
moment. Not the event is important but the condensed information in a
practical storage format.

Reference is security. To leave the field of what is considered secure is a
risk. Imperfection, coincidence, spontaneity - what cannot be saved,
recorded and documented? What is the quality of the non-permanent? What
sense makes an archive nobody is looking at? How productive is oblivion?

Rewriting of rules, breaking off processes, selecting and deleting - garage
05 is searching for artists' approaches and positions that critically
discuss the technologies and mechanics of saving, archiving and forgetting.
Send us your proposals and concepts for presentations, installations,
performances, projects, papers, and workshops.

Submission deadline for materials and proposals is 2nd May 2005.
application forms and info: http://www.garage-g.de/call05

---------------------------------------------------------
all proposals should be submitted to:

Festival garage
Kastanienallee 73
10435 Berlin
Germany

questions?
+49 (0) 30 441 20 15
xxxx@xxxxxx-x.xx
---------------------------------------------------------







Ausschreibung
---------------------------------------------------------
9. Festival garage im August 2005 in Stralsund
---------------------------------------------------------
forget it! don't trust your archives
---------------------------------------------------------


Daten, Bilder, Toene, Begriffe, Definitionen, Zeichen, Kontakte,
biometrische Informationen, Briefmarken ... Unsere Kultur ist gepraegt vom
Drang zu sammeln und zu archivieren, zu speichern und zu katalogisieren, zu
systematisieren und festzuschreiben. Da wir Dank Digitalisierung von der
laestigen Verpflichtung befreit sind, uns entscheiden zu muessen, was sich
aufzubewahren lohnt, sichern wir lieber alles und entscheiden spaeter, was
wir davon brauchen.

Das Vertrauen in die Perfektion von Aufzeichnungstechnologien,
Datenbanksystemen, Suchalgorithmen und kollaborativen Filtermechanismen
veraendert die Wahrnehmung von Realitaet. Das Wissen um die Moeglichkeit,
alles speichern und fuer den spaeteren Gebrauch wieder abrufen zu koennen,
verringert unsere Bereitschaft zur Konzentration auf den Moment. Nicht das
Ereignis ist wichtig, sondern die kondensierte Information im praktischen
Speicherformat.

Referenz ist Sicherheit. Das Terrain des als gesichert Geltenden zu
verlassen, ist Risiko. Imperfektion, Zufall, Spontanitaet - was laesst sich
nicht speichern, aufzeichnen und dokumentieren? Was ist die Qualitaet des
Fluechtigen? Wie viel Sinn macht ein Archiv, wenn sich niemand dafuer
interessiert? Wie produktiv ist das Vergessen?

Umschreiben von Regeln, Abbrechen von Prozessen, Auswaehlen und Loeschen -
garage 05 sucht nach kuenstlerischen Ansaetzen und Positionen, die sich
kritisch mit Technologien und Mechaniken des Speicherns, Archivierens und
Vergessen auseinandersetzen. Eingereicht werden koennen Vorschlaege und
Konzepte für Ausstellungen, Installationen, Performances, Projekte,
Vortraege und Workshops.

Einsendeschluss fuer Material und Vorschlaege ist der 2. Mai 2005.
Anmeldeformular und Infos unter: http://www.garage-g.de/call05

---------------------------------------------------------
Ideen, Vorschlaege, Projektbeschreibung, Material bitte an:

Festival garage
Kastanienallee 73
10435 Berlin
Germany

Fragen?
+49 (0) 30 441 20 15
xxxx@xxxxxx-x.xx
---------------------------------------------------------

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NISUS-GALERIA GALOU PRESENTS @ the BPM room –
Friday,February 25, 2005  


Eric Bollman/Enrique Sacasa
Ben Owen/Andy Graydon


Friday, February 25, 2005. Doors open at
8:00PM.Suggested donation $5.00

This event will feature a live performance that will
be bringing together orchestrated duo collaborations
between sound and video artists. In both sets, the
artists will be improvising while responding to the
video especially created for this presentation. 


Williamsburg,  Brooklyn, NY 11211
237 Kent Ave. (bet. North 1 St. and Grand St.)

------------------------------------
http://www.ericbollman.com
http://www.ericbollman.com/NISUS.jpg
xxxx@xxxxxxxxxxx.xxx

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 Issue 1356
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Le 21 févr. 05, à 18:37, David Powers a écrit :

> First, I buy almost all of these cheap electronics USED.  They are 
> cheap
> because they are obsolete.  They may not have been cheap originally.
> And people are exploited somewhere for almost every new item we buy 
> here
> in the USA.  Anyway, new musical instruments aren't actually cheap at
> all here, at least typical gear might cost an entire month of my wages.
>
> Second, the developed world - and here I can only speak from experience
> of the United States - has quite a few of those truly destitute people.
> I see so many homeless people everyday here in Chicago, it's quite sad
> really.  And if you go into the worse off urban areas things are really
> bad.   Average working people are still exploited in the United States,
> regardless of a somewhat better lifestyle, and wages have generally 
> been
> decreasing over the last few years.  Meanwhile, prisons are growing
> larger and larger and entire communities are devestated by drug laws
> which systematically remove "delinquent" parts of the population.  Most
> workers here hardly have lifestyles that are "opulent."  Many people 
> are
> one paycheck from being homeless and broke.  Depending on where one
> lives, one may have more income but it all goes towards higher rent.
> Better off than workers in underdeveloped countries, sure, but hardly a
> new aristocracy.  Finally, a greater purchasing power vis-a-vis other
> workers does not translate into political power and autonomy -
> characteristics which one would expect to in an aristocracy.
>
> Third, yes, exploitation of labor in underdeveloped countries is a
> serious global political issue.  But I think this focus on consumption
> is problematic.  There are many conscious people that try to make
> reasonable purchases for only things they really need and do not live
> the hyper-consumer lifestyle that is promoted on television.  I suggest
> that a politics of guilt is in appropriate in this issue.  In this 
> case,
> the focus needs to be on what can be done to better the working
> conditions and increase the bargaining power of the workers in
> underdeveloped countries.  In this area it is still the struggle 
> between
> workers and global capital that is most important.  Reducing the
> position or income of, say, American workers isn't going to bring any
> advantage to other workers in underdeveloped countries.
>
> Can I go back to button-pushing music now, PLEASE?! ;)
>
> As soon as I get off work, I'm going to play my lovely DX-21 with three
> broken keys (luckily only at the extreme registers) thought I bought 
> for
> $100.
>
> ~David
>
>
> David Powers
> Secretary
> DePaul University, School of Education
> Department of Leadership in Education, Language, and Human Services
> 773-325-4806
>
>>>> xxxxxxxx@xxx.xx 02/20/05 05:33PM >>>
> Before you get too carried away, do not forget that those "cheap"
> electronics are cheap largely because of the continued subjugation of
> the truly poor who comprise such a huge part of our manufacturing base
>
> today (and who do not own computers). We in the developed
> (overdeveloped?) world are all, with the exception of a few truly
> destitute, the elite, privileged, aristocratic few, and the opulence of
>
> our lifestyle rivals that of noblemen throughout history. The
> separation of rich and poor has not changed, it has merely been
> globalized. At least, that has been my growing impression lately.
>
> Galen
>
>
>> So if I can create music through the use of buttons and sliders,
>> computers, cheap consumer electronics, and anything that is readily
>> available and affordable to the working person, that's an incredible
>> opportunity!  I'm a piano player but I don't own a piano, so the
>> availability of cheap keyboard instruments is also an amazing asset.
> I
>> don't understand why some people want music to be an elite activity
>> only
>> available to a privileged few.
>>
>
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 FILETIME=[08449D70:01C51A1F]

as quaint as this sounds, i prefer SonicWORX to Peak, although its rather 
apples and oranges. i prefer to boot WORX up in OS9, even though i have it 
runs classic.  for some things i fall back on peak. actually, when i was 
running windows and OS9, i prefered sound forge to peak, but i never bought 
the port to mac. i must now unbox the PC in the closet in order to use the 
windows plug-ins for a math lab, so the perk of this action is to get to use 
sound forge again after a couple of years.



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> The Audible Past: Cultural Origins of Sound Reproduction
> by  Jonathan Sterne

Who, may I add, is Professor at McGill University in Communication Studies,
one of my departments.

Excellent book; excellent professor, and a lefty to boot:

    http://eserver.org/bs/

And a blog here:

    http://sterneworks.org/blog.html

tV




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From ???@??? Thu Feb 24 00:41:43 2005
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At 4:27 PM -0800 2/23/05, roberth wrote:
>great list add r murray shaeffer's tunning of the world

I should have, but thought it was too obvious.

FYI I just went to Amazon and plugged in variations on "soundscape" 
and various modifiers, then used their recommendations to track down 
others.

Most of these books I'm not directly familiar with, but they're now 
in my wish list.  I really am amazed at how much there is, especially 
compared to just a few years ago.
-- 

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

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From ???@??? Thu Feb 24 00:27:56 2005
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great list add r murray shaeffer's tunning of the world
----- Original Message ----- 
From: "Richard Zvonar" <xxxxxx@xxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Wednesday, February 23, 2005 3:18 PM
Subject: Re: [microsound] book citations?


> At 5:50 PM -0500 2/23/05, xxxxxxxx@xxxxxxxxx.xxx wrote:
>>
>>Anybody recall the titles/author of the, I believe TWO, books that 
>>have come out recently treating the acoustic landscapes of the past?
>>
>>One I think dealt with London in Hogarth's time and the other,,,
>>
>>another English period.
> 
> 
> 
> Victorian Soundscapes
> by John M. Picker
> 
> Soundscapes
> by Kay Kaufman Shelemay
> 
> The Audible Past: Cultural Origins of Sound Reproduction
> by  Jonathan Sterne
> 
> The Auditory Culture Reader (Sensory Formations)
> by  Michael Bull (Editor), Les Back (Editor)
> 
> The Audible Past: Cultural Origins of Sound Reproduction
> by  Jonathan Sterne
> 
> Listening to Nineteenth-Century America
> by Mark M. Smith
> 
> The Soundscape of Modernity: Architectural Acoustics and the Culture 
> of Listening in America, 1900-1933
> by Emily Thompson
> 
> Sensory Worlds in Early America
> by Peter Charles Hoffer
> 
> How Early America Sounded 
> by Richard Cullen Rath
> 
> Listening to Nineteenth-Century America 
> by Mark M. Smith
> 
> Wild Soundscapes: Discovering the Voice of the Natural World
> by Bernard L. Krause
> 
> Into a Wild Sanctuary: A Life in Music & Natural Sound
> by Bernard L. Krause
> 
> 
> -- 
> 
>

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From ???@??? Wed Feb 23 23:35:57 2005
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Date: Thu, 24 Feb 2005 00:37:26 +0100
From: Noisejihad <xxxx@xxxxxxxxxx.xx>
Subject: Re: [microsound] Petition...
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>, xxxxxxxx@xxxxx.xx
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To where in Europe and for how long?
Lars

----- Original Message ----- 
From: "Plagasul" <xxxxxxxx@xxxxx.xx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Tuesday, February 22, 2005 11:29 PM
Subject: [microsound] Petition...


Hello.

I am planning a trip for the weekend of the 4th, March, and i would like to
know if there is anything interesting going on around Europe involving arts
or sound, or both.

After frustrating googleing i found that emailing the list members could be
a fast an effective way of getting such an information.

Any help or guidance will be greatly appreciated.

Thank you!
______________________________________________
Renovamos el Correo Yahoo!: ¡250 MB GRATIS!
Nuevos servicios, más seguridad
http://correo.yahoo.es

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At 5:50 PM -0500 2/23/05, xxxxxxxx@xxxxxxxxx.xxx wrote:
>
>Anybody recall the titles/author of the, I believe TWO, books that 
>have come out recently treating the acoustic landscapes of the past?
>
>One I think dealt with London in Hogarth's time and the other,,,
>
>another English period.



Victorian Soundscapes
by John M. Picker

Soundscapes
by Kay Kaufman Shelemay

The Audible Past: Cultural Origins of Sound Reproduction
by  Jonathan Sterne

The Auditory Culture Reader (Sensory Formations)
by  Michael Bull (Editor), Les Back (Editor)

The Audible Past: Cultural Origins of Sound Reproduction
by  Jonathan Sterne

Listening to Nineteenth-Century America
by Mark M. Smith

The Soundscape of Modernity: Architectural Acoustics and the Culture 
of Listening in America, 1900-1933
by Emily Thompson

Sensory Worlds in Early America
by Peter Charles Hoffer

How Early America Sounded 
by Richard Cullen Rath

Listening to Nineteenth-Century America 
by Mark M. Smith

Wild Soundscapes: Discovering the Voice of the Natural World
by Bernard L. Krause

Into a Wild Sanctuary: A Life in Music & Natural Sound
by Bernard L. Krause


-- 

--Boundary_(ID_EjOJvLzdIwGMJuBpiFChvg)--

From ???@??? Wed Feb 23 22:51:12 2005
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Hey-

Anybody recall the titles/author of the, I believe TWO, books that have come out recently treating the acoustic landscapes of the past?

One I think dealt with London in Hogarth's time and the other,,,

another English period.

Help!

Tad

xxxxxxxx@xxxxxxxxx.xxx


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From ???@??? Wed Feb 23 21:57:34 2005
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Date: Wed, 23 Feb 2005 21:57:24 +0000
From: paulo raposo || sirr <xxxx-xxxxxx@xxxx-xxxxxx.xxx>
Subject: Re: [microsound] Marc Behrens / Paulo Raposo / @c [
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I took the text, or part of it,  from the press-release of the label. But
googling a little bit is easy to find the following text:


""
The year 2009, looks set to be the final turn in the long standing vinyl
revolution. 

A June 2003 press release from The Institute of Chemical Engineering,
advised that key by- products of the current petroleum refining process
would no longer be generated by 2009, due to deadlines agreed, in principle,
with the chemical industry back in 1992. These deadlines were however, only
finalised in 1999, in the face of increasing environmental concerns and
lobbying. 

the institute of chemical engineering (iChemE) went on to advise that a
voluntary co-funded research and development program to seek a green
alternative, possibly a polycarbonate based compound had been proposed in
the 1999 summary. However no members of the industry wide syndicate had been
able to substantiate a sufficiently high market demand for a replacement for
the petroleum by-product, which is the primary base for vinyl record albums.
""

http://members4.boardhost.com/culturama/msg/3281.html
http://www.tvaus.com/viewtopic.php?t=7122


Anyway, I tend to agree with John about being more a rumour than anything
else. But nevertheless is symbolic of a part of audio culture that is about
to disappear, if not completely, or not due to global agreements, at least
because it turned culturally (and of course, economically) residual.

Paulo raposo


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From ???@??? Wed Feb 23 21:01:15 2005
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 Issue 1356
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 FILETIME=[C81BE480:01C519EA]



i also agree, the point was made that expensive studio gear is fetishized , 
and i think also that
manufacturers such as digidesign, focusrite and others have tried to set up 
a monopoly over
'sound quality' and establish this tinted window view of the cosy 
(deluxe)home studio as some kind of norm, i tend to simplify it a little and 
see it so as sound is amplitude/phase change over time only, so what
really are you getting for all these amounts of money?   the sampling rate 
is fixed,  the bit-rate is fixed. i got GIVEN two atari 1040ste's which 
sequence midi as well as any current midi sequencer.
home-made gear is great too, i made a spring reverb for £15 recently, and am 
now much more
reluctant to spend money on any equipment, unless it was a dat recorder AND 
a hovercraft at the same time or something....for the price of a new hat.   
im lucky to even have the choice, but why waste money?


>From: sylvain solaro <xxxxx@xxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] Re: microsound Digest 19 Feb 2005 17:10:31 
-0000 Issue 1356
>Date: Wed, 23 Feb 2005 19:47:46 +0100
>
>bravo!
>
>>First, I buy almost all of these cheap electronics USED.  They are
>>cheap
>>because they are obsolete.  They may not have been cheap
>>originally.
>>And people are exploited somewhere for almost every new item we buy
>>here
>>in the USA.  Anyway, new musical instruments aren't actually cheap
>>at
>>all here, at least typical gear might cost an entire month of my
>>wages.
>>
>>
>........
>
>
>I live in France, and i think as you... In my home,  my work and my
>homework, i like to use old instuments... always i feel not so quiet
>when i think i can have a good oportunity to buy new computers only
>because they are cheaps...
>
>
>Sylvain
>
>
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From ???@??? Wed Feb 23 20:07:26 2005
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From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] [OT] U.S. appeals court debates anti-piracy TV technology
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U.S. Circuit Judge Harry Edwards told the FCC
"(it) does not mean you get to rule the world." 

Another circuit judge, David Sentelle said:
"It's going to have less content if it's not
protected, but Congress didn't direct that you
have to maximize content. You can't regulate
washing machines. You can't rule the world."

http://www.usatoday.com/news/washington/2005-02-22-tv-piracy_x.htm

cheers,

Eloy
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From ???@??? Wed Feb 23 18:48:23 2005
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 Issue 1356
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bravo!

> First, I buy almost all of these cheap electronics USED.  They are 
> cheap
> because they are obsolete.  They may not have been cheap originally.
> And people are exploited somewhere for almost every new item we buy 
> here
> in the USA.  Anyway, new musical instruments aren't actually cheap at
> all here, at least typical gear might cost an entire month of my wages.
>
>
.........


I live in France, and i think as you... In my home,  my work and my 
homework, i like to use old instuments... always i feel not so quiet 
when i think i can have a good oportunity to buy new computers only 
because they are cheaps...


Sylvain


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From ???@??? Wed Feb 23 15:14:27 2005
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Yes, I know of this phenomenon. I have captured one EVP so far of a woman whose voice sounded like she had a box over her head. I couldn't hear her words, but could hear her inflections and her accent. Every now and then I could tell when she was saying "uhhh" or "um" but after a while, she just got cut off during the middle of a sentence. I captured this recording at a graveyard with a group of people scattered off in different directions of the cemetary (it's a big one) at night (it's one that's open all day and night). The voice started right as I stopped talking, and before a friend replied to something I said. It was total quietness inbetween the times we said something to each other. There was a woman there with us, but she was on the opposite side of the cemetary, so it wasn't her. The voice didn't even sound like her at all. The equipment I used: stereo microphones and a minidisk player/recorder. That same night, about a few minutes after the EVP occurred, most of us saw a
 red streak in the outline, blurred form of a human going fast down the main cemetary road, towards the adjoining mosyleum. Then it slowly faded out 6 seconds later. There was definitely some strange stuff happening that night.

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schwarzer                    gegenwartskunst    contemporary art



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schwarzer                    gegenwartskunst    contemporary art



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Hello to all,
 
I go to Buenos Aires, Argentina, at finish of March. ¿Some recomendation to see or listen?
 
Thanks, Mika.

Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx> wrote:
http://microsound.nexthop.net/bin/view.cgi/Main/OpenPatches

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

P


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


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

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

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[www.mikamartini.scd.cl]



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Aventuras sonoras
La Casa Encendida
Ronda de Valencia,2
28012 Madrid
T 91 506 38 75/88
www.lacasaencendida.com

 

Asmus Tietchens y Thomas Köner

Jueves 3 y viernes 4 de marzo, 20h


Philip Jeck y Janek Schaefer
Jueves 10 y viernes 11 de marzo, 20h
Kaffe Matthews y Andrea Neumann
Jueves 17 y viernes 18 de marzo, 20h
 

Auditorio 

Entrada 3€ cada día



Venta de entradas desde tres días antes de cada jueves en: www.entradas.com,
en el T. 902 22 16 22 y en La Casa Encendida.



Colaboran ROTOR: www.geometrikrecords.com/rotor.php3 y Pulpa: www.pulpa.net
<http://www.pulpa.net/>

 
Aventuras sonoras


Aventuras sonoras es una programación que presenta tres proyectos de seis
creadores de música contemporánea avanzada. Los jueves se muestran los
trabajos en solitario de cada uno de ellos y los viernes, las colaboraciones
en dúo de estos artistas que aúnan inquietudes para aventurarse en los
territorios profundos de sonidos insólitos.

   
Asmus Tietchens y Thomas Köner

Música exploratoria

Jueves 3 y viernes 4 de marzo
 

Asmus Tietchens 

http://www.tietchens.de/

Jueves 3 de marzo 

Asmus Tietchens (Hamburgo) es toda una leyenda y una de las más importantes
figuras en el campo de la música electrónica no-académica y la manipulación
sonora. Considerado un pionero, además de compositor es también un teórico
de la música.  Comenzando a grabar a finales de los sesenta, ha publicado
más de 50 trabajos en diversos formatos y en distintos sellos de todo el
mundo, aparte de colaboraciones con otros artistas. Su música, analítica y
emocional a la vez,  ha evolucionado desde las melodías y atmósferas
sintéticas (colaborando con Cluster y Eno en los setenta), hasta sus más
recientes exploraciones sonoras con medios digitales, como en la serie
"Menge" publicada por el prestigioso sello Mille Plateaux/Ritornell.



Thomas Köner 

http://www.koener.de/

Jueves 3 de marzo 

La carrera de este prestigioso artista electrónico multimedia nacido en
Dortmund abarca quince años de intensa investigación en el estudio de
grabación, abandonando el ritmo y la melodía y centrándose en particular en
el fenómeno del color del sonido, un concepto que ha extendido recientemente
al campo de la video instalación y la imagen en movimiento. Ha publicado más
de una docena de discos y trabajado en prestigiosos centros culturales como
el Museo Louvre y el centro Georges Pompidou en París y la Hayward Gallery
de Londres. El pasado año fue premiado con el importante "Golden Nica" Prix
de Ars Electronica (Digital Musics), y el "Norman Prize" al mejor film en el
Filmwinter Sttugart.  En la escena techno experimental es más conocido por
su proyecto  Porter Ricks.



Kontakt Der Jünglinge

http://www.kontaktderjunglinge.de/

Viernes 4 de marzo 

Tomando el nombre de dos composiciones de K.Stockhausen, KdJ es el proyecto
conjunto de Asmus Tietchens y Thomas Köner, que cuenta ya con cuatro discos
publicados con grabaciones de algunas de sus actuaciones en directo.  Dos
talentos se unen para explorar las profundidades oscuras de la electrónica.
Su intensidad parece heredada de la música post-industrial de los ochenta.


Philip Jeck y Janek Schaefer

Turntablismo 

Jueves 10 y viernes 11 de marzo
 
Philip Jeck 

www.philipjeck.com <http://www.philipjeck.com/>

Jueves 10 de marzo 

Tras haberse dado a conocer con su subversiva instalación 'Vinyl Requiem',
junto a  Lol Sargent, en la que se empleaban 180 tocadiscos, merecedora del
Time Out Performance Award en 1993, Philip Jeck se ha convertido en uno de
los exponentes de la música experimental más inquieta. 7 es su último cd
para Touch, séptimo álbum en solitario en una trayectoria siempre fiel a la
misma premisa: la música nace de la experimentación con loops de vinilo y
scratches, empleando tocadisdos Bush, Ferguson y Fidelity & Philips, así
como mini-discs Sony y teclados Casio.


Janek Schaefer
www.audioh.com 

Jueves 10 de marzo 

Arquitecto y artista sonoro, Janek Schaefer siempre ha estado interesado en
la creación de música específica para un lugar. Especializándose en los
diferentes aspectos del sonido, ha dado luz a multitud de discos para
Asphodel, Sub Rosa, Staalplaat o Diskono entre muchos otros, además de
instalaciones, bandas sonoras para exhibiciones, etc. En 1997 presentó su
'Tri-phonic Turntable', un tocadiscos con 3 brazos, el más versátil del
mundo según el Libro Guiness de los Records.

 
Songs for Europe
Viernes 11 de marzo

Philip Jeck y Janek Schaefer, artistas británicos, presentarán en directo su
álbum conjunto, Songs For Europe (Asphodel), mostrando las posibilidades del
vinilo y de sus reproductores, una actuación que evocará la grabación de un
trabajo que les llevó hasta Estambul y Atenas, donde las ondas herzinas y la
música local inspiraron a ambos artistas. Electroacústica y electrónica para
situarnos en otro contexto espacial y sonoro.


Kaffe Matthews y Andrea Neumann
Improvisación electroacústica
Jueves 17 y viernes 18 de marzo
 

Kaffe Matthews 

www.annetteworks.com <http://www.annetteworks.com/>

Jueves 17 de marzo 

Artista sonora ubicada en Londres, Kaffe Matthews creó en 1997 Annette
Works, sello discográfico y estudio desde el que lanza sus propias
grabaciones, inmersas en la electroacústica. Grabaciones todas ellas que
reproducen sus directos, improvisaciones basadas en el uso de software
auto-diseñado con el que reprocesa un sonido matriz, moviéndose, según sus
palabras, “en esa frágil frontera entre éxito y fracaso”.


Andrea Neumann 

Jueves 17 de marzo

Comenzando su carrera como pianista, Andrea Neumann quiso explorar las
posibilidades del piano, reduciéndolo a cuerdas, tabla de resonancia y marco
de metal, además de emplear electrónica para manipular y ampliar sonidos que
de otra forma serían imperceptibles en muchas ocasiones. Entre los artistas
con los que ha colaborado se encuentran Toshimaru Nakamura, Annette Krebs,
Ignaz Schick, Sachiko M y Kaffe Matthews.



Un dúo del momento 

Viernes 18 de marzo

 La Casa Encendida volverá a reunir en un concierto a Andrea Neumann y Kaffe
Matthews, alemana e inglesa respectivamente, quienes no actuaban juntas
desde Tokyo 2002. Un directo que jugará con el concepto de la improvisación,
en el que Kaffe sampleará y reprocesará los sonidos que genere Andrea, a
tiempo real, según nazcan, para depararnos algo totalmente nuevo. 


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From ???@??? Wed Feb 23 12:56:48 2005
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Date: Wed, 23 Feb 2005 23:59:13 +1100
From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] Australia: Uber Lingua in Melbourne and Hobart over the
 next few        daze...
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MELBOURNE: This Thursday the 24th of Feb at St Jeromes Uber Lingua is in
full effect with three guests, alongside regulars Raceless, Saigon Sausage
and bP

Bubotic Hellfire, a member of the band Morloch expands on his regular
repertoire and enters the DJ realm, messin' with your head in many ways ....
Vocal, funky uplifting intelligent nu-jack folk music moving through to
rootsy, non-stop bangin' Latvian pagan-metal with happy-hardcore jazzy
braindance bong'n'grind anthems in the mixxx: DJ BUBOTIC HELLPHIRE will
play pre-recorded music. http://www.emilezile.com

Expero sound man from Brisbane, 2 Pants Rotation is Alan Nguyen. He gets
motion sickness doing head-spins on abruptly halting bus aisles. Bites mics
for prior vocalist dried saliva flavour whilst his noisy r’n’b beats and
stutter-hop blows earwax on your shirt collar.

Hailing from Sydney, Mashy P plays Uber once again, this time enjoying a
stint in the late guest spot allowing him to energise his normally eclectic
mix of electro, Arab and Indian inspired mashups, DnB and neo-techno...

The heat is thick and Jeromes (not Jerome himself) has got it's top off at
the moment so it's daintily the time to come down and enjoy the outdoor
space that makes St Jeromes so unique...

For more info, bios, photos and free mp3s look at
http://www.uberlingua.com/melb

St Jeromes 7 Caledonian lane Melb CBD (directly behind the lounge)
Every thursday 6pm till 1am
_______

HOBART: After two solid events in 2004, Uber Lingua and Hobart's own Cluster
collective join together once again to present LINGO III... at Sirens

Focussing once again on the incredibly diverse and ecclectic sound found in
other languages around the world, LINGO this time brings together some of
Hobart's most active exponents of trans-lingual music. 

Joining in from Melbourne once again is bP, bringing a fresh batch of sonics
gathered since he was last in Hobart in November 04... bP is one of the
hosts of Uber Lingua's weekly Melbourne club and the energy behind the
national wanderings of the crew as a whole. 

Also involved in both LINGO events previously were sakamoiz and Gusto who
are revolutionary thinkers, putting their preaching into practice thru Djing
highly exotic sounds in other languages... sakamoiz (who proudly lives in
Cygnet) is originally from Switzerland and spent a large portion of his
recent life in Mexico. Hence the quite mutant like fusion of Euro-Central
American influences in his music. Being Swiss however, encourages Sakamoiz
to be global in approach and uphold the reputation of his people. 

Gusto, one of the key figures in the Cluster Collective is fairly obsessed
with Japanese music (and other Japanese stuff) and has a comprehensive
collection of Nipon Hip Hop, Dub, Expero and electronic sounds... 

DJ BTC hosted Hobart's longest running dub®gae radio show, a sound which
influences his newly evolved show What Am I on Edge Radio.  Going LINGO,
this time BTC is focusing on eastern european & italian hip hop.  Fabio
Chivandha, a well-known musician in his native Zimbabwe, is collaborating
with a DJ line-up for the first time in Hobart.  

Nitriya from Edge Radio's 'Rhythms of India' is back due to popular demand
from LINGO in September and several sets at the recent Hobart Fringe
Festival, spinning Bollywood remixes and classics.  In fact, all but one of
the Hobartian line-up have radio programs on Edge...  

Venue: Sirens : 10 Victoria Street (near Chickenfeed Collins Street)
Price: $6 or $10 with a CD

for more info, bios and free mp3s goto http://www.uberlingua.com
also look at the new Cluster site http://www.clustercollective.com

Demos can be sent to PO Box 2613 Fitzroy 3065 Australia

Stay tuned for Adelaide info ... and a potential Uber Lingua tour of Sydney,
Brisbane and Perth... 


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Date: Tue, 22 Feb 2005 20:13:33 -0800
From: Galen Elfert <xxxxxxxx@xxx.xx>
Subject: [microsound] Re: poverty
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> First, I buy almost all of these cheap electronics USED.  They are 
> cheap
> because they are obsolete.  They may not have been cheap originally.

Right. But then you can hardly go cite the price of a top of the line 
violin as a reason why acoustic instruments are elitist.
But I don't think that quite what you were saying.
Sure, the violin is associated with an aristocratic tradition, but it 
knows nothing of that. Poor people can just as easily make music on any 
instrument, whether it's a cheap fiddle or a cheap casio. And those 
people privileged with time and money can make "better" music, 
according to a certain standard, whether it is on a violin and years of 
training, or a G5 and extensive DSP knowledge. Or, one of the worst 
culprits in my opinion, the ridiculous formalism of modern recording, 
where vague terms such as "warm" and "punchy" are code words for "the 
sound you get from an insanely expensive compressor with World War II 
radio knobs on it".

> Second, the developed world - and here I can only speak from experience
> of the United States - has quite a few of those truly destitute people.
> I see so many homeless people everyday here in Chicago, it's quite sad
> really.  And if you go into the worse off urban areas things are really
> bad.   Average working people are still exploited in the United States,
> regardless of a somewhat better lifestyle, and wages have generally 
> been
> decreasing over the last few years [...]

Quite right. I sometimes forget about the scary 'other' third world 
growing in the heart of the biggest cities. I often tend to take 
analogies too far. It just seems to me sometimes that we are not as far 
from feudalism as we are often taught.

> As soon as I get off work, I'm going to play my lovely DX-21 with three
> broken keys (luckily only at the extreme registers) thought I bought 
> for
> $100.
> ~David

And I will play my $30 ukulele :)

Galen


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sorry! testing new mailserver


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http://www.worlditc.org/k_06_spiricom.htm

gives a great example of how absurd it can get :-)
good fun though...



 --- Polly Glott <xxxxx.xxxxx@xxxxxxx.xxx> schrieb: 
> 
> 
> Hi all!
> This might sound a bit odd... But i'll give it a
> shot.
> I was just wondering if anyone out there, ever had
> come across the mysteries with mysterious voice
> phenomenon on the air? In the late 50:s, while
> recording songbirds in his backyard, the Swedish
> filmproducer Friedrich Jürgensson happened to catch
> some mysterious voices on tape. The scary, but yet
> fascinating messages also appeared on air when
> recording randomly from the short, medium or long
> wave bands on his radio... 
> By Jürgensson's explaination the mysterious voices
> originated from the dead. 
> Voices from the other side. 
> These phenomenon continued to appear and over the
> next 25 years, Jürgensson became a celebrity among
> the paranormal society. Konstantine Raudive is
> another highly respected name in this field. My
> question to whomever it may concern: Have you ever
> heard of anything like this? Do you believe in it?
> Can anyone refer to own experiences on this matter?
> Ever heard of EVP? (Electronic Voice Phenomenon) 
> Performing a study and thankful for all help.
> 
> Polly
> 
> 
> 
> 
> 
> -- 
>
___________________________________________________________
> Sign-up for Ads Free at Mail.com
> http://promo.mail.com/adsfreejump.htm
> 
> 
>
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> 
>  


        

        
                
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--Boundary_(ID_ZT8BkefTIiuACYQ00UA5ag)
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  fairly recent albums dealing with EVP include:


Crepescule - Music For Decay 
Schloss Tegal - Black Static Transmission 
Bass Communion - Ghosts On Magnetic Tape
Bass Communion - Ghosts On Magnetic Tape Andrew Liles Reconstruction




 




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

www.flickr.com/photos/jpaul23/


--Boundary_(ID_ZT8BkefTIiuACYQ00UA5ag)--

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Date: Wed, 23 Feb 2005 00:17:38 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Mysterious on air phenomenon...
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Polly Glott wrote:
> 
> Hi all!
> This might sound a bit odd... But i'll give it a shot.
> I was just wondering if anyone out there, ever had come across the mysteries with mysterious voice phenomenon on the air? In the late 50:s, while recording songbirds in his backyard, the Swedish filmproducer Friedrich Jürgensson happened to catch some mysterious voices on tape. The scary, but yet fascinating messages also appeared on air when recording randomly from the short, medium or long wave bands on his radio... 
> By Jürgensson's explaination the mysterious voices originated from the dead. 
> Voices from the other side. 
> These phenomenon continued to appear and over the next 25 years, Jürgensson became a celebrity among the paranormal society. Konstantine Raudive is another highly respected name in this field. My question to whomever it may concern: Have you ever heard of anything like this? Do you believe in it? Can anyone refer to own experiences on this matter? Ever heard of EVP? (Electronic Voice Phenomenon) 
> Performing a study and thankful for all help.
> 
> Polly
> 
just some thoughts, I didn't read deeply on that topic so far but its 
interesting:

- voices might be frequency pollution
There are loads of sounds around us which we cant hear. Although 
recording equipment has its limits (digital obviousily but also analog), 
maybe even due a mal- or not foreseen function it translates some sound 
pollution into human audible range. I have here for instance a device 
which is supposed to transfer supersonic to our range and it produces 
some noises and actually works at least as a supersonic detector, I 
tested it against supersonic emitters I used in an robotproject. But the 
results sounds a bit that it uses FM to 'pitch' down the sounds, not 
very convincing and nothing which can't be done on a Yamaha FM or 
Software Synth.

- wish is the driver of perception
Sometimes people refer to unknown sounds to voices, for instance the 
Theremin. Humans are trained, used, made to or whatever to filter / 
recognizes patterns out of chaos. Especially faces seems to be important 
for survival, there was once an experiment which shows that babys reacts 
to pattern which barly resemble to a face, like you will do in a second
:)

Stare on a whitenoise TV and soon you start to phantasize things into, I 
guess thats why all the tinfoilhat afficiendos sees faces or hear voices 
all around so take care. Listen to noise or another example the wind, 
and you might recognize something because you are trainend to hear 
something.
Phrepas it is a smilaur tnihg lkie tihs.
Your brain bridge the gaps and make something out of chaos, simular to 
an checksum error correction. My point is that these researcher picked 
up some noise by accident and put more meaning into it then there it is.

Don't get me wrong, there is a lot of stuff out there which can't be 
explainend yet and need more research. Things which are paranormal now 
will be routine tomorrow.

Cheers,

Malte



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

New release:
Notstandskomitee track for compilation 12" 'world of disorder' on
http://www.geneticmusic.de
more at blog 4, also available as rss feed:
http://java.block4.com/blog4/

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the artist mike kelley has referenced the tradition of interest in EVP in several of his art works....
     A wonderful book that sheds some light on the history of investigations into EVP as well as many other subjects of interest to many on this list is entitled 'Wireless Imagination"....
                                          mhw


> 
> 
> Hi all!
> This might sound a bit odd... But i'll give it a shot.
> I was just wondering if anyone out there, ever had come across the mysteries 
> with mysterious voice phenomenon on the air? In the late 50:s, while recording 
> songbirds in his backyard, the Swedish filmproducer Friedrich Jürgensson 
> happened to catch some mysterious voices on tape. The scary, but yet fascinating 
> messages also appeared on air when recording randomly from the short, medium or 
> long wave bands on his radio... 
> By Jürgensson's explaination the mysterious voices originated from the dead. 
> Voices from the other side. 
> These phenomenon continued to appear and over the next 25 years, Jürgensson 
> became a celebrity among the paranormal society. Konstantine Raudive is another 
> highly respected name in this field. My question to whomever it may concern: 
> Have you ever heard of anything like this? Do you believe in it? Can anyone 
> refer to own experiences on this matter? Ever heard of EVP? (Electronic Voice 
> Phenomenon) 
> Performing a study and thankful for all help.
> 
> Polly
> 
> 
> 
> 
> 
> -- 
> ___________________________________________________________
> Sign-up for Ads Free at Mail.com
> http://promo.mail.com/adsfreejump.htm
> 
> 
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From ???@??? Tue Feb 22 22:33:21 2005
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Subject: [microsound] RADICAL CUTS: Experiments in Music, Sound & Image
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RADICAL CUTS
Experiments in Music, Sound & Image

Friday March 4th & Saturday March 5th @ 8pm 
Crazy Space, 18th St. Art Center, 1629 18th St. #2,
Santa Monica, LA
Suggested Donation: $5
curated by Adam Overton and Kadet Kuhne
info: xxxxx@xxxxxxxxxxxxx.xxx

Crazy Space proudly presents "Radical Cuts:
Experiments in Music, Sound & Image," a weekend of
sound performances and audio/video 
screenings that explore reactive space between the
artists and their works. The event will showcase new
works by ANDRE VIDA from LA 
on Friday, and SCOTT ARFORD, TONY CROSS and MASAKO
TANAKA from San Francisco on Saturday. There will be a
reception for the artists  both nights.


FRIDAY, MARCH 4, 2005, 8-10PM  
>VIDATONE 
This evening will showcase Los Angeles composer and
performer ANDRE VIDA and his new series of animated
scores for improvisers, the Vidatone Notation System.
His system uses motion graphics as a primary element
of musical scoring and interpretation. Eric Clark, a
String Quartet, and other improvisers will perform a
dynamic range of strategies interpreting Vida’s
notation system; with costumes by Leah Piehl and
lighting by Jeanette Yew.  

SATURDAY MARCH 5, 2005, 8-9:30PM
>REACTIVE
An evening of performances and screenings by three San
Francisco artists, SCOTT ARFORD, TONY CROSS AND MASAKO
TANAKA. ARFORD will perform TV-IV, live processing of
audio/video feedback loops from TV monitors, and The
Song of the Station, a live interpretation of his
time-lapse video that is an homage to Giorgio
DeChirico’s poem. Marrow, by CROSS, is an
improvisation involving intersecting textures created
with violin, field recordings and live reprocessing of
sounds. TANAKA’s digital video ìr.e.mî (2004) is an
experimental short that repeats a process of random
changes to let it achieve an arbitrary execution.

---

THANKS FOR YOUR SUPPORT!!! 




        
                
__________________________________ 
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From ???@??? Tue Feb 22 22:28:43 2005
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Hello.

I am planning a trip for the weekend of the 4th, March, and i would like to know if there is anything interesting going on around Europe involving arts or sound, or both.

After frustrating googleing i found that emailing the list members could be a fast an effective way of getting such an information.

Any help or guidance will be greatly appreciated.

Thank you!
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Renovamos el Correo Yahoo!: ¡250 MB GRATIS!

Nuevos servicios, más seguridad

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 FILETIME=[519207A0:01C5192B]

William Gibson uses this stuff in his most recent novel (Pattern 
Recognition). Very cool book. The main character's mother is a huge 
proponent and researcher/analyzer of EVP messages.

On Feb 22, 2005, at 2:00 PM, graham miller wrote:

> http://www.apple.com/trailers/universal/white_noise/
>
> never saw it but heard it was bad, though...
>
> Polly Glott wrote:
>
>> Hi all!
>> This might sound a bit odd... But i'll give it a shot.
>> I was just wondering if anyone out there, ever had come across the 
>> mysteries with mysterious voice phenomenon on the air? In the late 
>> 50:s, while recording songbirds in his backyard, the Swedish 
>> filmproducer Friedrich Jürgensson happened to catch some mysterious 
>> voices on tape. The scary, but yet fascinating messages also appeared 
>> on air
>
>
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http://www.apple.com/trailers/universal/white_noise/

never saw it but heard it was bad, though...

Polly Glott wrote:

> Hi all!
> This might sound a bit odd... But i'll give it a shot.
> I was just wondering if anyone out there, ever had come across the mysteries with mysterious voice phenomenon on the air? In the late 50:s, while recording songbirds in his backyard, the Swedish filmproducer Friedrich Jürgensson happened to catch some mysterious voices on tape. The scary, but yet fascinating messages also appeared on air


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http://www.evprecording.com/  (lol:)
quite all right:
http://www.stefanbion.de/evpmaker/index.htm

there also was a recording of Zbigniew Karkowski's attempt to capture some  
of the evps ( btw. dedicated to Raymond Cass )

good luck with the study
t



On Tue, 22 Feb 2005 16:38:59 -0500, Polly Glott <xxxxx.xxxxx@xxxxxxx.xxx>  
wrote:

>
>
> Hi all!
> This might sound a bit odd... But i'll give it a shot.
> I was just wondering if anyone out there, ever had come across the  
> mysteries with mysterious voice phenomenon on the air? In the late 50:s,  
> while recording songbirds in his backyard, the Swedish filmproducer  
> Friedrich Jürgensson happened to catch some mysterious voices on tape.  
> The scary, but yet fascinating messages also appeared on air when  
> recording randomly from the short, medium or long wave bands on his  
> radio...
> By Jürgensson's explaination the mysterious voices originated from the  
> dead.
> Voices from the other side.
> These phenomenon continued to appear and over the next 25 years,  
> Jürgensson became a celebrity among the paranormal society. Konstantine  
> Raudive is another highly respected name in this field. My question to  
> whomever it may concern: Have you ever heard of anything like this? Do  
> you believe in it? Can anyone refer to own experiences on this matter?  
> Ever heard of EVP? (Electronic Voice Phenomenon)
> Performing a study and thankful for all help.
>
> Polly
>
>
>
>
>



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Greetings to all the Microsounders, just to share more sounds with the list,

thanx so much to John Nowak, for the chance to upload some stuff at the Ruccas.org server, pure respect and the best wishes from Mexico City,

http://www.ruccas.org/index.php?Manrico%20Montero

Manrico

 




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From ???@??? Tue Feb 22 21:39:12 2005
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Hi all!
This might sound a bit odd... But i'll give it a shot.
I was just wondering if anyone out there, ever had come across the mysteries with mysterious voice phenomenon on the air? In the late 50:s, while recording songbirds in his backyard, the Swedish filmproducer Friedrich Jürgensson happened to catch some mysterious voices on tape. The scary, but yet fascinating messages also appeared on air when recording randomly from the short, medium or long wave bands on his radio... 
By Jürgensson's explaination the mysterious voices originated from the dead. 
Voices from the other side. 
These phenomenon continued to appear and over the next 25 years, Jürgensson became a celebrity among the paranormal society. Konstantine Raudive is another highly respected name in this field. My question to whomever it may concern: Have you ever heard of anything like this? Do you believe in it? Can anyone refer to own experiences on this matter? Ever heard of EVP? (Electronic Voice Phenomenon) 
Performing a study and thankful for all help.

Polly





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From ???@??? Tue Feb 22 20:45:28 2005
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Music in Black and White
New mp3 release from Archive
Available for a limited time only
at http://www.darkwinter.com

"Synesthesia" is the experience of a stimulus by a different sense than
that for which it was intended-- hearing colors, for example.

Whether or not he's a full-fledged synesthetic, sound artist Mike
Hallenbeck tends to "see" sounds-- as a space of constantly evolving form,
dimension, hue, value, highlight, and shadow. Hallenbeck's "musique
plastique" project Archive explores sound as an experience of margin and
threshold, of the microscopic and the parenthetical, as a mutable
component of a listening space.

A group of Archive pieces deemed "greyscale" by Hallenbeck have been
collected for "Music in Black and White", a new mp3 release from Dark
Winter.

The material ranges from long-form "demixes" of tracks by Fadladder and
Datura 1.0 ("In De Stijl of the Night", "That Will Be All") to pieces
derived entirely from a binaural recording of a bike shop ("Trappr Keepr")
and from the sound of Hallenbeck clucking his tongue ("Spork"). From stark
and prickly to gauzy and ephemeral, the pieces blend with the incidental
sounds of one's environment to provide a unique listening experience with
each playback.

Try it on your headphones at a Man Ray photo exhibit, or as a soundtrack
for "The Cabinet of Dr. Caligari". Enjoy!

Download "Music in Black and White"
at Dark Winter: http://www.darkwinter.com

Thanks for your time...

Best regards,
Mike Hallenbeck
[ a r c h i v e ]
http://www.juniorbirdman.com/archive


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Subject: Re: [microsound] Marc Behrens / Paulo Raposo / @c [
 http://www.cronica.pt ]
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>  > Word's out that the good old vinyl industry will be
>>  off by the year 2009, it
>>  seems that an agreement within the chemical industry
>>  states that the key
>>  by-products of the current petroleum refining
>>  process will no longer be
>  > generated by that time, meaning: bye-bye new vinyl
>  >

Bogus -- I don't believe that at all...  There is no monumental 
agreement between those two sectors to begin with, nor is there 
standardization ("the process") with refineries globally...  sounds 
like an extreme irrational net-rumor.

and besides, there wil always be the responsibility to melt all those 
old albums ;-\

jh



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Subject: [microsound] BETA_LAB - Feb 26th 2005 - MTL
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phoniq - beta lab press release


PHONIQ presents BETA-LAB

when: saturday february 26th 2005
where: la salle d'attente (the back room of cafe esperanza)
5490 st-laurent, montreal, canada
time: 9pm - 3am
how much: FREE

BETA-LAB is  a monthly night of electronic music collaberation and
experimentation
featuring phoniq resident artists: naw, cyan, scant intone, various, anton
along side a variey of monthly guests.

This month's BETA-LAB will feature:
Heart & Soul - Live - esoterik
NAW V.S. Anton - live - antontrax.com/noisefactoryrecords.com
Bopp - laptop DJ - bopp.ca


for more info visit: www.phoniq.net

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

PRESS RELEASE

The PHONIQ collective brings you another twist on another year of
electronic music showcases. This time around PHONIQ is happy to present
BETA-LAB a monthly showcase of electronic music collaberation and
experimentation. BETA-LAB will focus on teaming up resident PHONIQ artists
with other members of the canadian electronic music community.
BETA-LAB is a space for experimentation to try out new ideas, for artists
to try out new ideas, projects, collaberations. a testing ground for
laptop artists, hardware musicians, djs and video artists a like.
every month a different project or projects will be presented. each of
these events are designed to act as an exploration into the different
intersections between  technology and
music/art making. BETA-LAB is not designed to feature one artist in
 particular but to act more as an equal testing ground for all, for both
the performer and the audience member.
the BETA-LAB series is about an ever changing creative process, each
months event details will be announced at www.phoniq.net

BIOS/INFO

PHONIQ
www.phoniq.net
phoniq is a collective of individuals dedicated to promoting bleeding edge
electronic music/art in interesting variable environments, with  an
emphasis on exposing aural and visual talent that has not yet been exposed
to the electronic arts communities of montreal and canada. we aim to
showcase upstart music producers, djs, and emerging visual artists all
working in electronic realms. our foremost goal is to showcase off the
wall and raw genres of music and visual electronic arts- not just those
that are currently "en vogue" or will be shortly.

the concept for phoniq came together through the chance meeting of 2
active members of the montreal/canadian electronic music and digital arts
community: ckut-fm dj/host cyan and dub glitch techno producer naw. phoniq
has grown out of the combined histories of these 2 individuals. naw brings
the clonk legacy that he created 6 years ago in toronto, which hosted such
artists as: monolake, kit clayton and sutekh. cyan brings her ongoing
involvement in community radio, event coordinating and
dj talents.

since then the collective has grown to include 5 core members
responsible for keeping things running. after 6 short months, phoniq has
grown from an idea of "how can we create a viable promotional vehicle  for
canadian electronic artists", into a music series, a net-label, an active
community
mailing-list and a canadian electronic music resource.

HEART & SOUL
Humanity receives hundreds of cosmic signals on a daily basis. Of these,
certainly the most complex come from a place simply known as Planet
Nebula.Chief among the Nebular codebreakers here on Earth is the team of
Heart & Soul. Their working methods combine the pioneering inter-planetary
research of the eminent Dr. Blowfin, the study of subterranean, or
underground, wave-form activity, a careful monitering of circle makers, as
well as their previously established Solar Mist Approach. The H&S team are
working towards a comprehensive decryption program for the Nebular codes
and a better understanding of what they can mean for us.

BOPP
www.bopp.ca
Montreal based Laptop DJ Bopp currently plays the "Deep Fried Daze"
netradio show on netmusique.com every friday at 4 pm.


NAW
www.noisefactoryrecords.com
montreal native neil wiernik began his explorations in electronic music
making as early as 1988. known to push the boundaries of his musical form,
naws music is a blend of sound manipulation/design, experimental music and
dub-tech rhythms, which on the surface sound quite simple, but incorporate
a number of touches that steer this artist away from being simply another
minimal techno or experimental laptop artist. he combines post-house,
dubby minimal techno, microsound and thick ambience, to create his own
version of deep techno, house and other electronic laptop oriented musics.
neil has released music on various national and international record
 labels, including recent releases on clever-music, and his follow up full
length to his 2002 noise factory release called green nights orange days.
he has recently returned from tours in france, germany, and canada.to
co-enside with his recent releases on these labels and plans to return to
europe this summer for more tours including a performance at the now
legendary sonar festival in barcelona, spain.

ANTON
www.antontrax.com
recently relocated to montreal from the west coast, anton has been
refining his sound since 1999.
in an era where most are abandoning their hardware to go the software
route, anton has taken advantage of cheap pawn-shop synths and samplers,
made obsolete by economic cycle, but still rich with potential.
his signature sound features emotive melodies,
lush minor chords, and distant textures. as somewhat of a reaction to the
clean computer-based sound prevalent today, antons music tends to be
rough, gritty, and deeply compressed. the influence of the environment of
the west coast of canada has certainly left its mark.





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Subject: [microsound] Darmstadt @ Galapagos WED 2/23 : the
 =?UNKNOWN?Q?N=BAZONE?= TRIO Vs MOSTRA
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Darmstadt "classics of the avant garde listening party" proudly presents:

'NøZone Trio' 

feat: Anthony Coleman (farfisa), Charles Cohen (Buchla Music Easel), &
David Linton (electronics)
with live video processing by:
MOSTRA - Caspar Stracke & Gabriela Monroy

With host DJ Zach Layton spinning Stockhausen, Cage, Wolff, Feldman,
Ashley, Stravinsky and other surprise special guests TBA

Wednesday, Feb. 23rd, 10pm, free
Galapagos Arts Space
Williamsburg, Brooklyn

the NºZONE TRIO Vs MOSTRA

   Accomplished keys player and composer Anthony Coleman has gained
recognition as an inspired player and talented standout of the avant-garde
and klezmer-oriented jazz coming out of NYC's downtown throughout the '80s
and '90s. Coleman has performed and recorded with just about every
musician involved in this downtown scene, including John Zorn, guitarist
Elliot Sharp, David Moss, renowned trumpeter Dave Douglas, premier
accordian player Guy Klucevsek, David Shea, former Captain Beefheart band
member Gary Lucas, classical and klezmer clarinetist David Krakauer,
guitarist Marc Ribot and many more. Coleman has performed and recorded all
over the world, with his groups Sephardic Tinge trio -- they've toured
Europe three times, and released two CDs -- and Selfhaters; all of their
releases are on the Tzadik label. Found on the related Avant label is
Coleman's Disco by Night, a recording inspired by his experiences in
ex-Yugoslavia. Through most of the '90s, Coleman and saxophonist Roy
Nathanson have co-led projects, performing all over the U.S. and Europe
together. The duo have also recorded several albums, including Lobster and
Friend. Coleman has received commissions for his compositions from various
ensembles including Bang On a Can, Concert Artists Guild, and The
Crosstown Ensemble. His compositions can also be heard on harpist Carol
Emanuel's Koch release, Tops of Trees, and Guy Klucevsek's accordian
extravaganza, Manhattan Cascade, among others. ~ (Joslyn Layne, All Music
Guide)

The "NºZone Trio" lineup provides a context where Anthony gets to do
something he'd rarely do anywhere else - namely: play his vintage 'Farfisa
Compact' 1960's combo electric organ through a Moogfooger in an entirely
electronic setting.

CHARLES COHEN - Buchla Music Easle

   Based in the Philadelphia area, Charles Cohen has been amazing and
challenging audiences for over 20 years. His music is entirely
improvisational and produced solely on a vintage Buchla Music Easle analog
synthesizer. An avid collaborator, Cohen is best known to NYC listeners
from his many inspired improvisational sets with the cream of the crop of
NYC electronic and acoustic musicians as well as stunning solos in many
multimedia contexts. His sound ranges from challengingly abstract
tonescapes to pleasantly rhythmic and infectious percolations. With few
commercially recorded works available, Cohen prefers to concentrate on
creating realtime Electronic Music in the setting of the live performance
space. In his own words: "Atmosphere, landscape, and travel are what my
sounds are about.  Collaboration and exploration are what my process is
about. The simple intent is sharing my favorite pastime with others."

DAVID LINTON - Assorted Electronics (analog processed 'circuit bent'
digital drumboxes +... ) 

   David Linton has witnessed the sun's rise and fall on nearly 4 decades
worth of american subcultural music practice.  For the past 2 1/2 of these
decades he has lived and worked in NYC - first hitting his stride as a
'downtown' drummer in the early 1980's. (See early recordings: Rhys
Chatham, Glenn Branca, among others soon to see the light of day).  From
the drums he moved to solo performing, live electronics, and computer
assisted composition and sound design for dance and theater - etc... (more
than a dozen scores for choreographer Stephen Petronio - and a couple of
noteworthy works for the Wooster Group- among many others) His mid 80¹s
solo release "Orchesography" (Neutral 14) represents downtown sensibility
at the crossroads of post punk, primal noise, early sampling technique,
and theatrical post modernism. 
   By the early '90's an experimental foray into venue building ( as 'in
house' producer at the 'hausofouch' loft in Chinatown) led to
transformative zeitgeist events (Ouch, Sensate, SoundLab, & Step Forward)
and a burgeoning absorption in the multimedia design parameters associated
with the 'immersive' movement.  By the late '90's a perfect balance
between audio and visual elements in the live electronic performance
environment was sought with the launch of the Unit¥Gain platform and
integrated modus operandi. From here it was a curious but natural
progression to the community media architectured explorations of Unitygain
Television (1AM Sunday mornings on MNN CH 34/mnn.org ­ still running). At
present, in his own music, Linton seeks to build a (con)temporary
structure (as in: Œshelter¹ to house the diverse creative offspring of his
endeavors 'under one roof'.  He will present his first solo audiovisual
work: "Stroboscopy: Bicameral Research: GODBOX 101" in the Roulette
Mixology Festival at Location One this spring. 
   David is the instigator of this grouping... 

MOSTRA is a duo of video artists Gabriela Monroy + Caspar Stracke who also
work with interactive video installation and single channel video. Their
video work has been shown in the US, Mexico, Brazil, Germany, France and
UK. MOSTRA conglomerates and transforms images according to single themes,
mostly sociological and architectural motives. Harvesting the net as their
primary image source, they juxtapose raw content in which images are
treated like text fragments (sometimes literally, in ASCII code).

wed, feb 23rd, 10pm - late (free)
galapagos
70 north 6 street, williamsburg, ny, 718.384.4586 







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From ???@??? Tue Feb 22 03:20:59 2005
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Hello.

I am planning a trip for the weekend of the 4th, March, and i would like to know if there is anything interesting going on around Europe involving arts or sound, or both.

After frustrating googleing i found that emailing the list members could be a fast an effective way of getting such an information.

Any help or guidance will be greatly appreciated.

Thank you!



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From ???@??? Tue Feb 22 00:05:51 2005
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Date: Mon, 21 Feb 2005 16:06:48 -0800
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 http://www.cronica.pt ]
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this seems to surface from time to time dating back at least 3 years 
now.  no one anywhere that i've seen can back it up.  vinyl byproducts 
are used in huge volumes, records being such a small amount that it 
doesn't even scratch into the whole percent numbers.   there is nary a 
mention searching within google in the larger industry,  just a bunch 
of music newsgroup blather.

b.



On Feb 21, 2005, at 1:33 PM, Brian Klein wrote:

is the part about the vinyl true?
can you send some links to where you found this info?


> Word's out that the good old vinyl industry will be
> off by the year 2009, it
> seems that an agreement within the chemical industry
> states that the key
> by-products of the current petroleum refining
> process will no longer be
> generated by that time, meaning: bye-bye new vinyl
> records! With that in
> mind, and of course the dance floors, Crónica
> decided to give her special
> tribute to the old industry medium and put out a
> 10'' with Further
> Reinterpretations by Marc Behrens, Paulo Raposo and
> @c which is a
> post-scriptum to Paulo Raposo/Marc Behrens 2004
> Crónica CD "Further
> Consequences of Reinterpretation".
> http://www.cronicaelectronica.org
>
>
------------------------------------------------------------------------
>
------------------------------------------------------------------------
> UPCOMING RELEASES
>
------------------------------------------------------------------------
>
> "Untitled"
> In "Untitled Songs - 49 Years from 'Gesang der
> Jünglinge' (2005-1956)"
> 2CD SIRR
>
> "Verbatim"
> in Essays on Radio: Can I Have Two Minutes of Your
> Time?
> Various Artists
> CD+DVD CRONICA
>
> Marfa Lights
> Solo CD
> SIRR
>
>
------------------------------------------------------------------------
>
------------------------------------------------------------------------
> UPCOMING PERFORMANCES
>
------------------------------------------------------------------------
>
> 2005 February 25
> Paulo Raposo, Rui Costa, André Gonçalves
> ZDB
> Lisboa, Portugal
>
> 2005 April
> Paulo Raposo
> Artist in residence
> Moks, Mooste, Estonia
>
> 2005 April 8/9
> Pablo Coello / Paulo Raposo
> Teatro Ensalle, Vigo
> Vigo, Spain
>
> 2005 April 28
> Paulo Raposo
> Festival Sonorities
> Belfast, UK -->
>
> 2005 May 11
> Pablo Coello / Paulo Raposo
> Sala Nasa
> Santiago de Compostela, Spain
>
> 2005 May 20
> Paulo Raposo with John Grzinich
> Fundação de Serralves
> Porto, PT -->
>
>
------------------------------------------------------------------------
>
------------------------------------------------------------------------
>
> Thanks for your attention
> Paulo Raposo
>
> ||||||||xxxx@xxxx-xxxxxx.xxx
>  |http://www.sirr-ecords.com
>
> ----------------------------------------
> ---------------------------------
> no more news? please reply with: Remove
>
>
>
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>
>



                
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From ???@??? Mon Feb 21 21:33:48 2005
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 http://www.cronica.pt ]
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is the part about the vinyl true?
can you send some links to where you found this info?


> Word's out that the good old vinyl industry will be
> off by the year 2009, it
> seems that an agreement within the chemical industry
> states that the key
> by-products of the current petroleum refining
> process will no longer be
> generated by that time, meaning: bye-bye new vinyl
> records! With that in
> mind, and of course the dance floors, Crónica
> decided to give her special
> tribute to the old industry medium and put out a
> 10'' with Further
> Reinterpretations by Marc Behrens, Paulo Raposo and
> @c which is a
> post-scriptum to Paulo Raposo/Marc Behrens 2004
> Crónica CD "Further
> Consequences of Reinterpretation".
> http://www.cronicaelectronica.org
> 
>
------------------------------------------------------------------------
>
------------------------------------------------------------------------
> UPCOMING RELEASES
>
------------------------------------------------------------------------
> 
> "Untitled"
> In "Untitled Songs - 49 Years from 'Gesang der
> Jünglinge' (2005-1956)"
> 2CD SIRR
> 
> "Verbatim" 
> in Essays on Radio: Can I Have Two Minutes of Your
> Time?
> Various Artists
> CD+DVD CRONICA
> 
> Marfa Lights
> Solo CD
> SIRR
> 
>
------------------------------------------------------------------------
>
------------------------------------------------------------------------
> UPCOMING PERFORMANCES
>
------------------------------------------------------------------------
> 
> 2005 February 25 
> Paulo Raposo, Rui Costa, André Gonçalves
> ZDB
> Lisboa, Portugal
> 
> 2005 April 
> Paulo Raposo
> Artist in residence
> Moks, Mooste, Estonia
> 
> 2005 April 8/9
> Pablo Coello / Paulo Raposo
> Teatro Ensalle, Vigo
> Vigo, Spain
> 
> 2005 April 28
> Paulo Raposo
> Festival Sonorities
> Belfast, UK -->
> 
> 2005 May 11
> Pablo Coello / Paulo Raposo
> Sala Nasa
> Santiago de Compostela, Spain
> 
> 2005 May 20
> Paulo Raposo with John Grzinich
> Fundação de Serralves
> Porto, PT -->
> 
>
------------------------------------------------------------------------
>
------------------------------------------------------------------------
> 
> Thanks for your attention
> Paulo Raposo
> 
> ||||||||xxxx@xxxx-xxxxxx.xxx
>  |http://www.sirr-ecords.com
> 
> ----------------------------------------
> ---------------------------------
> no more news? please reply with: Remove
> 
> 
>
---------------------------------------------------------------------
> 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: ". m u r m e r ." <xxxxxx@xxxxxx.xxx>
Subject: [microsound] [playlist] framework - 18.02.05
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framework broadcasts live every friday (except the first one of each month) on resonance104.4fm  in london (uk) or worldwide on http://www.resonancefm.com between 8:30 and 9:30pm gmt, and is repeated the following wednesday between 11:00am and 12:00 noon gmt

next live broadcast: 25.02.05
~ time zone converter: http://www.thesaturnv.com/converter.html


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

 

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


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

this was our first edition of framework:focus for 2005, and was curated and produced by uk sound artist dallas simpson.  entitled peggy's paradise, it featured a sound walk/environmental diary recorded by dallas' mother on a fall day in 1988.  dallas himself describes his mother's recordings, which began in the 70's as letters to her son, thusly: 'Mum's work is about emotive description, rather than any kind of objective accuracy. It is the sheer simplistic joy of the moment by moment experience that is communicated.' 

for more information on dallas' work, and on peggy's paradise, you can visit his website at http://www.waterpump.f9.co.uk/.  if you missed this edition of framework:focus, or would like to hear it again, it will be repeated this wednesday, the 23rd of february, at 11:00am gmt.  our next live broadcast will be this coming friday, the 25th of february, at 8:30pm gmt.

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


framework
31 nevill road
london n16 8sl
uk

xxxxxxxxx@xxxxxx.xxx



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


framework intro submissions:

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

welcome to framework.

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

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

thanks!



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



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

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


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

rob grant & melanie clifford  /  framework intro
thomas dimuzio  /  unearth & lift and spear  /  sonicism  /  rrrecords
chris watson  /  river mara at night   /  stepping into the dark  /  touch
johannes helden / - / sketchbook / trente oiseaux
toy bizarre  /  -  /  kdi dctb 116  /  absurd
murmer  /  liquid solid  /  definition  /  absurd
jgrzinich & seth nehil  /  the distant edge  /  confluence  /  intransitive
seth nehil & jgrzinich  /  the mirrored corner  /  stria  /  erewhon
annette lissauer  /  framework intro
toby paddock  /  air, surface and magnetic vibrations  /  -  /  -
steve roden  /  -  /  resonant cities  /  trente oiseaux
francisco lopez  /  untitled #101  /  untitled (2000)  /  ignis projekt
mnortham  /  ancient sewer pipe, valletta, malta  /  phonography.org 5  /  phonography.org
the quiet american  /  donkey trains leaving marpha, nepal  /  phonography.org 4  /  phonography.org
steve barsotti  /  trainyard presence  /  phonography.org 5  /  phonography.org
k. m. krebs  /  jericho sailing center (nautical gamelan)  /  phonography.org 4  /  phonography.org
david daniell  /  highway 371, forty miles south of farmington, january 19, 1998, 2:25 pm  /  sem  /  antiopic
joyce hinterding  /  -  /  spectral  /  antiopic/sigma editions
david daniell  /  dixon lake road, july 31, 1999, 5:45 am  /  sem  /  antiopic
tacet ncv  /  live on framework
jean-luc guionnet & bertrand denzler  /  live on framework
dallas simpson  /  framework intro
--Boundary_(ID_sGCFQH/t1gZ/a0WxWZHO+w)--

From ???@??? Mon Feb 21 19:25:17 2005
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Date: Mon, 21 Feb 2005 12:26:51 -0700
From: devslashnull <xxx@xxxxxxx.xxx>
Subject: [microsound] New CommTom Release
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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--Boundary_(ID_/LFBCazRh2pGvCbS4ufxXQ)
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Greetings,

New audio/video material from David Fodel:

david fodel (aka devslashnull ) had a rare chance to play outside of 
the denver area on a recent trip to Berlin, (feb2-9th, 2005).

this material represents some of the work being done by Fodel in the 
area of "live cimnemonics" (read: cinema and mnemonics), a process 
linking audio, with literal and abstract visual elements using 
narrative structures in addition to commonly used formal relationships.

"shovel" is part of an upcoming DVD release entitled "wet wood drying" 
which pays homage to simplicity, and the poetic experience of the 
mundane. the piece was performed live in the Salon of Transmediale 05  
in Berlin at the Haus der Kulteren der Welt.

http://www.commtom.com/releases/devslashnull/berlin_shovel.html

large file (around 50 mb.)


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

unique electronic music for the adventurous ear.

http://www.commtom.com
--Boundary_(ID_/LFBCazRh2pGvCbS4ufxXQ)--

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 1357
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In a message dated 2/21/2005 11:11:58 AM Central Standard Time, 
xxxxxxxxxx-xxxxxx-xxxx@xxxxxxxxx.xxx writes:
Before you get too carried away, do not forget that those "cheap" 
electronics are cheap largely because of the continued subjugation of 
the truly poor who comprise such a huge part of our manufacturing base 
today (and who do not own computers). 
And if they didn't have the income coming from working for the "oppressive 
Western industrail base" just what do you think they'd be doing? Probabaly 
starving to death is my guess. You have to start somewhere if you're going to join 
the rest of the world and begin the climb to developed status. Maybe they 
should get rid of their socialist dictators first instead of blaming America for 
all their troubles. We had to throw off the European yoke at the beginning of 
our own development. 

John
--Boundary_(ID_D/vhhbgpqA/iHCYqgFNobQ)--

From ???@??? Mon Feb 21 18:14:53 2005
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Date: Mon, 21 Feb 2005 18:11:23 +0000
From: paulo raposo || sirr <xxxx-xxxxxx@xxxx-xxxxxx.xxx>
Subject: [microsound] Marc Behrens / Paulo Raposo / @c [ http://www.cronica.pt ]
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Hi all,
new release at http://www.cronicaelectronica.org
Also available (as all cronica releases) at http://www.sirr-ecords.com

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

Marc Behrens / Paulo Raposo / @c
Product
Crónica 017~2004
4 tracks 10" vinyl
------------------------------------------------------------------------

A1: Marc Behrens: I was Never
A2: Marc Behrens: A Disco Boy
A3: Paulo Raposo: Bunny and Clyde Take the Desert Ride
B1: @c: 36


Word's out that the good old vinyl industry will be off by the year 2009, it
seems that an agreement within the chemical industry states that the key
by-products of the current petroleum refining process will no longer be
generated by that time, meaning: bye-bye new vinyl records! With that in
mind, and of course the dance floors, Crónica decided to give her special
tribute to the old industry medium and put out a 10'' with Further
Reinterpretations by Marc Behrens, Paulo Raposo and @c which is a
post-scriptum to Paulo Raposo/Marc Behrens 2004 Crónica CD "Further
Consequences of Reinterpretation".
http://www.cronicaelectronica.org

------------------------------------------------------------------------
------------------------------------------------------------------------
UPCOMING RELEASES
------------------------------------------------------------------------

"Untitled"
In "Untitled Songs - 49 Years from 'Gesang der Jünglinge' (2005-1956)"
2CD SIRR

"Verbatim" 
in Essays on Radio: Can I Have Two Minutes of Your Time?
Various Artists
CD+DVD CRONICA

Marfa Lights
Solo CD
SIRR

------------------------------------------------------------------------
------------------------------------------------------------------------
UPCOMING PERFORMANCES
------------------------------------------------------------------------

2005 February 25 
Paulo Raposo, Rui Costa, André Gonçalves
ZDB
Lisboa, Portugal

2005 April 
Paulo Raposo
Artist in residence
Moks, Mooste, Estonia

2005 April 8/9
Pablo Coello / Paulo Raposo
Teatro Ensalle, Vigo
Vigo, Spain

2005 April 28
Paulo Raposo
Festival Sonorities
Belfast, UK -->

2005 May 11
Pablo Coello / Paulo Raposo
Sala Nasa
Santiago de Compostela, Spain

2005 May 20
Paulo Raposo with John Grzinich
Fundação de Serralves
Porto, PT -->

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

Thanks for your attention
Paulo Raposo

||||||||xxxx@xxxx-xxxxxx.xxx
 |http://www.sirr-ecords.com

----------------------------------------
---------------------------------
no more news? please reply with: Remove


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From ???@??? Mon Feb 21 17:36:13 2005
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Date: Mon, 21 Feb 2005 11:37:29 -0600
From: David Powers <xxxxxxxx@xxxxxx.xxx>
Subject: [microsound] Re: microsound Digest 19 Feb 2005 17:10:31 -0000        Issue
 1356
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First, I buy almost all of these cheap electronics USED.  They are cheap
because they are obsolete.  They may not have been cheap originally. 
And people are exploited somewhere for almost every new item we buy here
in the USA.  Anyway, new musical instruments aren't actually cheap at
all here, at least typical gear might cost an entire month of my wages.

Second, the developed world - and here I can only speak from experience
of the United States - has quite a few of those truly destitute people. 
I see so many homeless people everyday here in Chicago, it's quite sad
really.  And if you go into the worse off urban areas things are really
bad.   Average working people are still exploited in the United States,
regardless of a somewhat better lifestyle, and wages have generally been
decreasing over the last few years.  Meanwhile, prisons are growing
larger and larger and entire communities are devestated by drug laws
which systematically remove "delinquent" parts of the population.  Most
workers here hardly have lifestyles that are "opulent."  Many people are
one paycheck from being homeless and broke.  Depending on where one
lives, one may have more income but it all goes towards higher rent. 
Better off than workers in underdeveloped countries, sure, but hardly a
new aristocracy.  Finally, a greater purchasing power vis-a-vis other
workers does not translate into political power and autonomy -
characteristics which one would expect to in an aristocracy.  

Third, yes, exploitation of labor in underdeveloped countries is a
serious global political issue.  But I think this focus on consumption
is problematic.  There are many conscious people that try to make
reasonable purchases for only things they really need and do not live
the hyper-consumer lifestyle that is promoted on television.  I suggest
that a politics of guilt is in appropriate in this issue.  In this case,
the focus needs to be on what can be done to better the working
conditions and increase the bargaining power of the workers in
underdeveloped countries.  In this area it is still the struggle between
workers and global capital that is most important.  Reducing the
position or income of, say, American workers isn't going to bring any
advantage to other workers in underdeveloped countries.

Can I go back to button-pushing music now, PLEASE?! ;)  

As soon as I get off work, I'm going to play my lovely DX-21 with three
broken keys (luckily only at the extreme registers) thought I bought for
$100.

~David


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

>>> xxxxxxxx@xxx.xx 02/20/05 05:33PM >>>
Before you get too carried away, do not forget that those "cheap" 
electronics are cheap largely because of the continued subjugation of 
the truly poor who comprise such a huge part of our manufacturing base

today (and who do not own computers). We in the developed 
(overdeveloped?) world are all, with the exception of a few truly 
destitute, the elite, privileged, aristocratic few, and the opulence of

our lifestyle rivals that of noblemen throughout history. The 
separation of rich and poor has not changed, it has merely been 
globalized. At least, that has been my growing impression lately.

Galen


> So if I can create music through the use of buttons and sliders,
> computers, cheap consumer electronics, and anything that is readily
> available and affordable to the working person, that's an incredible
> opportunity!  I'm a piano player but I don't own a piano, so the
> availability of cheap keyboard instruments is also an amazing asset. 
I
> don't understand why some people want music to be an elite activity 
> only
> available to a privileged few. 
>  

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From ???@??? Mon Feb 21 17:26:46 2005
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Date: Mon, 21 Feb 2005 18:26:38 +0100
From: herv=?ISO-8859-1?B?6Q==?= boghossian <xxxxxxxxxxx@xxxx-xx.xxx>
Subject: [microsound] G.Muller & Steinbruchel "perspectives"  OUT NOW !  and
 more ....
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hi all, 

LIST is proud to announce the release of Gunter Muller & Steinbruchel
"perspectives" (L6) cd .

more info on List website http://www.list-en.com ( including mp3 extracts) .
  
>the cd is available through LIST paypal shop http://www.list-en.com :

account : xxxxxxxxxxx@xxxx-xx.xxx
write "perspectives" on your mail, the price is 14 euros shipping offered
for every countries !

and List Events this week :

24.02.05 Kunstraum Walcheturm > Zurich (ch)
"Perspectives" cd release concert :
:: live : Gunter Muller & Steinbruchel + Herve Boghossian
http://www.walcheturm.ch

25.02.05 Bad Bonn > Dudingen (ch)
:: live : Herve Boghossian
http://www.badbonn.ch

thanks for your attention

all the best 

rv  
 


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From ???@??? Mon Feb 21 16:08:11 2005
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Subject: Re: [microsound] TATE dicussion cont.
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 FILETIME=[86F219F0:01C5182F]

A lot of good questions in derek's post. Nice too how it cuts through some
of the 
resistence to a deeper rather than broader discussion.

I'd like to center on one of the questions that might 'resonate' the most
with folks on 
this list - that is this one:

> -If artifacts are always in flux, when is an historical work determined
to be 
"finished"?

I find that Lev Manovich's writings on digital media are sometimes a bit
too polemical 
but I think there is great value in how he writes about this subject.  The
nature of 
digital media is that it is never fixed and thus never finished. We have
all likely named 
files or projects and then appended new dates to the file names to indicate
that they 
has been revisited or "improved" upon. Or we have swapped files with one
another 
and then, at some point, lost the impressions of the original strands and
cannot 
determine where each artist's imprints really are. 

It is sometimes exciting to be able to rework an object over a long period
of time - but 
with that constant state of flux we sometimes lose what, in the times of
high 
modernism, must have been, on occasion, the nice sense of satisfaction over 
"finishing something" - to be able to say "voila" it is done.  I would
argue that these 
new works of "digital art" are rarely, if ever, finished.  


Chris McNamara
thinkbox


Original Message:
-----------------
From: derek holzer xxxxx@x-x.xxx
Date: Fri, 18 Feb 2005 19:11:56 +0100
To: xxxxxxxxxx@xxxxxxxxx.xxx
Subject: Re: [microsound] TATE dicussion cont.


Dear microsounders,

in the hopes we can "elevate" the banter around here beyond one-liners 
and such:

Arie van Schutterhoef wrote:
>>it's all high-concept gobledegook speak...
> 
> -But does it matter?

I'd like to post the point that the Tate discussion leaves off [right 
now anyway], as I think that Lina Dzuverovic and Kenneth Goldsmith pose 
some interesting questions about different models of online 
collaboration, participation and distribution. Some of this dovetails 
quite nicely into previous threads here concerning CD vs CDR vs MP3 at 
the very least....

at http://tinyurl.com/6ub6e, Lina Dzuverovic wrote:

> nude media             
> 
> It is interesting how the collaboration/participation discussion
initially shot off into 
two different directions (online vs offline collaborative models) only to
come back to 
what are essentially different appropriation methods and individual choices
of 
crediting/presentation.
 >
> Going back to Doug and John's posts, to me 'nude media' (a great term,
Kenneth, 
btw) is one way of talking about a history of appropriation whether it is
offline or 
online. As John just illustrated - it is a question of choice, not medium.
> 
> That MP3 file 'stripped of its external signifiers' is essentially no
different then a 
photocopied page separated from the author/title info. Are we not just
replacing a pair 
of scissors (Gysin) with sound processing software? Perhaps the the main
difference 
is in the speed with which the 'nude media' file makes it's way back into
the remixing 
and sampling pool and how long it stays there for (and if it ever becomes
used up/
finished)?
> 
> And on that note, I thought Kenneth's asked some really interesting
questions a few 
posts back, which we all seem to have skipped and I'd like to return to
those:
> 
> 
> -How does having a variety of contexts influence the cultural reception
of such 
objects?
> 
> -Who or what determines an avant-garde artifact's value, both
commercially and 
intellectually?
> 
> -How does this in turn impact the artist's reputation, both commercially
and 
intellectually?
> 
> -If artifacts are always in flux, when is an historical work determined
to be 
"finished"?


happy discourse,
d.

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"

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From ???@??? Sun Feb 20 23:33:52 2005
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 1356
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--Boundary_(ID_HPMW3bRAS8QKI55n+u9tQw)
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Before you get too carried away, do not forget that those "cheap" 
electronics are cheap largely because of the continued subjugation of 
the truly poor who comprise such a huge part of our manufacturing base 
today (and who do not own computers). We in the developed 
(overdeveloped?) world are all, with the exception of a few truly 
destitute, the elite, privileged, aristocratic few, and the opulence of 
our lifestyle rivals that of noblemen throughout history. The 
separation of rich and poor has not changed, it has merely been 
globalized. At least, that has been my growing impression lately.

Galen


> So if I can create music through the use of buttons and sliders,
> computers, cheap consumer electronics, and anything that is readily
> available and affordable to the working person, that's an incredible
> opportunity!  I'm a piano player but I don't own a piano, so the
> availability of cheap keyboard instruments is also an amazing asset.  I
> don't understand why some people want music to be an elite activity 
> only
> available to a privileged few. 
>  
--Boundary_(ID_HPMW3bRAS8QKI55n+u9tQw)--

From ???@??? Sun Feb 20 22:26:57 2005
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On Feb 17, 2005, at 6:07 PM, David Powers wrote:

> The history of violin playing, the virtuosity that must be attained, is
> precisely what makes it an esoteric and aristocratic discipline,
> something inacessible to most of us.

there are many virtuoso gipsy violin players. for shure they are not 
aristocrats.


> I love violin playing, but in a
> hierarchical society founded on wage labor and dead end jobs, it's not
> an option for most people, and to hold it up as a musical ideal is
> tantamount to declare that music is an activity that should only be
> accessible to the privileged few.
>

my close relative plays first violin in berlin philharmony. he grew in 
zagreb, went to local music school, and moved to germay at the age of 
20. his parents are not rich. they did put as much as they could in his 
education, but for the most part it was his will and talent.


klif


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From ???@??? Sun Feb 20 06:21:32 2005
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does it really matter whether music/sound art is
developed thru a traditional analog instrument or
something else?!!  why is this discussion happening
now?

tho, yeah the great analog instruments are beauties no
doubt! It would be nice if some one would make a mouse
that was mahogony! ;)  

this is a very new instrument -- this laptop-able
'instrument'  -- and it is pretty incredible, as it
is!!  Let's see how it goes. there is much ahead. 
Probably hundreds of years...


                
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From ???@??? Sun Feb 20 05:23:10 2005
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download > listen

New albums by :
Plantre
Milieu
Silo Romano
Helen Keller

New mixset by : 
Dan Mcleod

And of course all our past releases and mixsets.

Only at http://www.experimedia.net ....the worlds first Ogg-Vorbis net label.

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From ???@??? Sat Feb 19 08:24:34 2005
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.... or the only ones with idle processors ....

Kwak

Quoting John Nowak <xxxx@xxxxxxxxx.xxx>:

> 
> On Feb 18, 2005, at 4:42 PM, xxxx@xxxxx.xxx wrote:
> 
> > i am bored. so heres my contribution to for the day that i think 
> > everyone should have, especially all of you  on this list who must 
> > have access to a pc,
> > get on this project use your spare thinking time when you've tranced 
> > out for too many hours to do something useful to contribute to 
> > humanity by running this here screensaver,
> > [well if you are not already looking for green men with SETI....]
> > http://www.worldcommunitygrid.org
> > http://news.bbc.co.uk/2/hi/science/nature/4270241.stm
> 
> Apparently only Windows users are worthy of saving the planet.
> 
> They should have their stock photography CDs taken away as well...
> 
> - John
> 
> 
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On Feb 18, 2005, at 4:42 PM, xxxx@xxxxx.xxx wrote:

> i am bored. so heres my contribution to for the day that i think 
> everyone should have, especially all of you  on this list who must 
> have access to a pc,
> get on this project use your spare thinking time when you've tranced 
> out for too many hours to do something useful to contribute to 
> humanity by running this here screensaver,
> [well if you are not already looking for green men with SETI....]
> http://www.worldcommunitygrid.org
> http://news.bbc.co.uk/2/hi/science/nature/4270241.stm

Apparently only Windows users are worthy of saving the planet.

They should have their stock photography CDs taken away as well...

- John


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i am bored. so heres my contribution to for the day that i think 
everyone should have, especially all of you  on this list who must have 
access to a pc,
get on this project use your spare thinking time when you've tranced out 
for too many hours to do something useful to contribute to humanity by 
running this here screensaver,
[well if you are not already looking for green men with SETI....]
http://www.worldcommunitygrid.org
http://news.bbc.co.uk/2/hi/science/nature/4270241.stm



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From ???@??? Fri Feb 18 21:03:20 2005
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Date: Fri, 18 Feb 2005 21:52:11 +0100
From: Claudio Parodi <xxx.xxxxxx@xxxxxx.xx>
Subject: [microsound] Guido Huebner/Claudio Parodi
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Hello everybody

I am looking for gigs in south France/Liguria (Italia) for the electroacoustic improvisation duo Guido Huebner/Claudio Parodi. The duo is available from the 21st to the 27th of March. If you are interested, please contact me offlist. Thank you in advance.

Best.

          Claudio Parodi

          xxx.xxxxxx@xxxxxx.xx
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From ???@??? Fri Feb 18 20:47:22 2005
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Date: Fri, 18 Feb 2005 12:46:17 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] visiting san francisco
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additions to list below on the more underground side of things
check out any jeweled antler shows, thuja, blithe sons, etc.
or tom carter, yellow swans, axolotl, gino robair, daniel popsicle, etc

or the more academic side, mills college has great shows, for instance,
james tenney is performing tonight (cage's sonatas and interludes for 
prepared piano)
and his own pieces tomorrow night.
enjoy
r

----- Original Message ----- 
From: "Alan So" <xxxx@xx-xx-xxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Friday, February 18, 2005 11:08 AM
Subject: Re: [microsound] visiting san francisco


> Robert:
> Check out http://transbaycalendar.org/ and http://www.bayimproviser.com
> for news, calendar and artists in the experimental music scene. Some
> great spaces showcasing  experimental scene include the Luggage Store
> Gallery http://www.luggagestoregallery.org/, 21 Grand
> http://www.21grand.org and 964 Natoma. Not sure what is happening when
> you are here but some festivals include 23five's Activating the Medium
> http://www.23five.org, Other Minds Festival http://www.otherminds.org,
> and SFEMF http://www.sfemf.org
>
> I am also planning the 2nd season of the Soundwave>Series: Exploring
> sound, language, noise and music but unfortunately would not be until
> probably summer or fall. Check out http://www.me-di-ate.net and
> http://www.projectsoundwave.com.
>
> Hope you have a great time.
>
>
> Alan So_Directeur
> ME'D1.ATE NETWORK | www.me-di-ate.net
>
> (((Project>Soundwave))) | www.projecsoundwave.com
> (((The.ME.Project))) | www.MEproject.com
>
>
>
> On Feb 18, 2005, at 10:52 AM, robert van heumen wrote:
>
>> unfortunately not.
>> maybe next time. how's the atmosphere there for experimental
>> electronic music?
>>
>>
>>
>>
>>
>> ---+-----+--+-+--+-++---+-+++--+---+++---
>> robert van heumen
>> managing director STEIM
>> http://www.steim.nl ++---
>> electric sound hardhatarea
>> http://hardhatarea.com --+-
>> http://humanelectric.net +--
>> ---+-----+--+-+--+-++++---+-+--+---+-+-+-
>>
>> On Feb 18, 2005, at 19:13, Richard Zvonar wrote:
>>
>>> At 2:33 PM +0100 2/18/05, robert van heumen wrote:
>>>
>>>> i'm going to visit the san francisco area from april 8 through april
>>>> 14, together with my collegues from steim, michel waisvisz and joel
>>>> ryan.
>>>
>>>
>>> Will you also visit southern California?
>>>
>>> -- 
>>>
>>> ______________________________________________________________
>>> Richard Zvonar, PhD
>>> (818) 788-2202
>>> http://www.zvonar.com
>>> http://salamandersongs.com
>>> http://ill-wind.com
>>>
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>>
>>>
>>
>>
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>>
> 


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From ???@??? Fri Feb 18 19:36:27 2005
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At 7:52 PM +0100 2/18/05, robert van heumen wrote:
>unfortunately not.
>maybe next time. how's the atmosphere there for experimental electronic music?

Excellent.

In addition to several schools (UC Santa Barbara, CalArts, UC Irvine, 
UC San Diego, etc.) there are many independent arts groups doing 
performances, workshops, and other public programs.

I work with the LA chapter of American Composers Forum and have to 
date produced 17 programs ranging from workshops (Max/MSP/Jitter, 
recording, laptop performance, etc.) to technology salons (digital 
looping, interactive video, surround sound, microtonal instruments, 
etc.) to composer seminiars (Trevor Wishart, Gavin Bryars, Fred 
Frith, et al.). I always look for opportunities to present visiting 
artists and technologists. I don't have a large budget but am 
generally able to provide an honorarium. It would be wonderful to 
present work from STEIM.
-- 

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

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From ???@??? Fri Feb 18 19:14:57 2005
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Robert:
Check out http://transbaycalendar.org/ and http://www.bayimproviser.com 
for news, calendar and artists in the experimental music scene. Some 
great spaces showcasing  experimental scene include the Luggage Store 
Gallery http://www.luggagestoregallery.org/, 21 Grand 
http://www.21grand.org and 964 Natoma. Not sure what is happening when 
you are here but some festivals include 23five's Activating the Medium 
http://www.23five.org, Other Minds Festival http://www.otherminds.org, 
and SFEMF http://www.sfemf.org

I am also planning the 2nd season of the Soundwave>Series: Exploring 
sound, language, noise and music but unfortunately would not be until 
probably summer or fall. Check out http://www.me-di-ate.net and 
http://www.projectsoundwave.com.

Hope you have a great time.


Alan So_Directeur
ME'D1.ATE NETWORK | www.me-di-ate.net

(((Project>Soundwave))) | www.projecsoundwave.com
(((The.ME.Project))) | www.MEproject.com



On Feb 18, 2005, at 10:52 AM, robert van heumen wrote:

> unfortunately not.
> maybe next time. how's the atmosphere there for experimental 
> electronic music?
>
>
>
>
>
> ---+-----+--+-+--+-++---+-+++--+---+++---
> robert van heumen
> managing director STEIM
> http://www.steim.nl ++---
> electric sound hardhatarea
> http://hardhatarea.com --+-
> http://humanelectric.net +--
> ---+-----+--+-+--+-++++---+-+--+---+-+-+-
>
> On Feb 18, 2005, at 19:13, Richard Zvonar wrote:
>
>> At 2:33 PM +0100 2/18/05, robert van heumen wrote:
>>
>>> i'm going to visit the san francisco area from april 8 through april 
>>> 14, together with my collegues from steim, michel waisvisz and joel 
>>> ryan.
>>
>>
>> Will you also visit southern California?
>>
>> -- 
>>
>> ______________________________________________________________
>> Richard Zvonar, PhD
>> (818) 788-2202
>> http://www.zvonar.com
>> http://salamandersongs.com
>> http://ill-wind.com
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
--Boundary_(ID_kOEqHi4IlCkrJwK8GKy+tg)--

From ???@??? Fri Feb 18 18:53:06 2005
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From: robert van heumen <xxxxxx@xxxxx.xx>
Subject: Re: [microsound] visiting san francisco
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unfortunately not.
maybe next time. how's the atmosphere there for experimental electronic 
music?





---+-----+--+-+--+-++---+-+++--+---+++---
robert van heumen
managing director STEIM
http://www.steim.nl ++---
electric sound hardhatarea
http://hardhatarea.com --+-
http://humanelectric.net +--
---+-----+--+-+--+-++++---+-+--+---+-+-+-

On Feb 18, 2005, at 19:13, Richard Zvonar wrote:

> At 2:33 PM +0100 2/18/05, robert van heumen wrote:
>
>> i'm going to visit the san francisco area from april 8 through april 
>> 14, together with my collegues from steim, michel waisvisz and joel 
>> ryan.
>
>
> Will you also visit southern California?
>
> -- 
>
> ______________________________________________________________
> Richard Zvonar, PhD
> (818) 788-2202
> http://www.zvonar.com
> http://salamandersongs.com
> http://ill-wind.com
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>


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From ???@??? Fri Feb 18 18:16:34 2005
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At 2:33 PM +0100 2/18/05, robert van heumen wrote:

>i'm going to visit the san francisco area from april 8 through april 
>14, together with my collegues from steim, michel waisvisz and joel 
>ryan.


Will you also visit southern California?

-- 

______________________________________________________________
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Dear microsounders,

in the hopes we can "elevate" the banter around here beyond one-liners 
and such:

Arie van Schutterhoef wrote:
>>it's all high-concept gobledegook speak...
> 
> -But does it matter?

I'd like to post the point that the Tate discussion leaves off [right 
now anyway], as I think that Lina Dzuverovic and Kenneth Goldsmith pose 
some interesting questions about different models of online 
collaboration, participation and distribution. Some of this dovetails 
quite nicely into previous threads here concerning CD vs CDR vs MP3 at 
the very least....

at http://tinyurl.com/6ub6e, Lina Dzuverovic wrote:

> nude media             
> 
> It is interesting how the collaboration/participation discussion initially shot off into two different directions (online vs offline collaborative models) only to come back to what are essentially different appropriation methods and individual choices of crediting/presentation.
 >
> Going back to Doug and John's posts, to me 'nude media' (a great term, Kenneth, btw) is one way of talking about a history of appropriation whether it is offline or online. As John just illustrated - it is a question of choice, not medium.
> 
> That MP3 file 'stripped of its external signifiers' is essentially no different then a photocopied page separated from the author/title info. Are we not just replacing a pair of scissors (Gysin) with sound processing software? Perhaps the the main difference is in the speed with which the 'nude media' file makes it's way back into the remixing and sampling pool and how long it stays there for (and if it ever becomes used up/finished)?
> 
> And on that note, I thought Kenneth's asked some really interesting questions a few posts back, which we all seem to have skipped and I'd like to return to those:
> 
> 
> -How does having a variety of contexts influence the cultural reception of such objects?
> 
> -Who or what determines an avant-garde artifact's value, both commercially and intellectually?
> 
> -How does this in turn impact the artist's reputation, both commercially and intellectually?
> 
> -If artifacts are always in flux, when is an historical work determined to be "finished"?


happy discourse,
d.

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
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COSTELLOE Richard wrote:
> ah, actually, I think he's getting to the real site but
> it's all high-concept gobledegook speak... something about
> politics and sound... who knows?! : )

ummmm.... in that case, the IDM-list is over _that_ way... Maybe summer 
will be better for serious discussion on this list, when all the 
anti-intellectuals are at the beach playing football or something ;-)

d.

-- 
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---Oblique Strategy # 36:
"Consult other sources
-promising
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gentlemen,

skip it .  there will be more links.



fo shizzle.



snoop



--- derek holzer <xxxxx@x-x.xxx> wrote:

> COSTELLOE Richard wrote:
> > ah, actually, I think he's getting to the real
> site but
> > it's all high-concept gobledegook speak...
> something about
> > politics and sound... who knows?! : )
> 
> ummmm.... in that case, the IDM-list is over _that_
> way... Maybe summer 
> will be better for serious discussion on this list,
> when all the 
> anti-intellectuals are at the beach playing football
> or something ;-)
> 
> d.
> 
> -- 
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 36:
> "Consult other sources
> -promising
> -unpromising"
> 
>
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> 



                
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Subject: [microsound] Also visiting SF
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Hi,
I will be in SanFran for the Autechre show may17-20th or so.
Just wondering if the locals could turn me onto any events, exhibits, 
record shops and vegan cuisine.  We're probably going to be staying in 
Union Square.


Thanks,
~Charlie





-- 
Amitabha

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>it's all high-concept gobledegook speak...
-But does it matter?

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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 FILETIME=[86533EE0:01C515DF]

ah, actually, I think he's getting to the real site but
it's all high-concept gobledegook speak... something about
politics and sound... who knows?! : )


-----Original Message-----
From: derek holzer [mailto:xxxxx@x-x.xxx] 
Sent: 18 February 2005 17:28
To: microsound
Subject: Re: [microsound] TATE dicussion: Oswald, Kahn et al.

Can I suggest, espc to "repeat offenders" like Kim and Tobias ;-), using

"tinyurl.com" to shorten these links to managable lengths?

Here's the tinyurl for the Tate site:

http://tinyurl.com/6ub6e

If you are still having trouble seeing it, it's definitly a browser 
issue, and you should complain directly to the Tate's web dept for 
making something that doesn't meet the normal W3 standard.

derek



tkrakowiak wrote:
>
http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
hread=2471&tstart=0&trange=15 
> 
> 
> 
> On Fri, 18 Feb 2005 08:51:07 -0800 (PST), guiver ben 
> <xxxxxxxxx@xxxxx.xxx>  wrote:
> 
>> nope i get the same shit. maybe someone could sya what
>> the page is about then i can jsut search it on the
>> tate site.....
>>
>>
>> --- COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx>
>> wrote:
>>
>>> make sure you have the full link in the address bar
>>>
>>>
>>
http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
>>
>>> hrea d=2471&tstart=0&trange=15
>>>
>>> not just the first line
>>>
>>> - R
>>>
>>>
>>> -----Original Message-----
>>> From: guiver ben [mailto:xxxxxxxxx@xxxxx.xxx]
>>> Sent: 18 February 2005 15:39
>>> To: microsound
>>> Subject: Re: [microsound] TATE dicussion: Oswald,
>>> Kahn et al.
>>>
>>> er i dont understand i got the page but it was a
>>> load
>>> of gobledegook. any tips.....
>>>
>>>
>>>
>>> --- "tobias c. van Veen" <xxxxxx@xxxxxx.xx> wrote:
>>>
>>> >
>>> >
>>>
>>
http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
>>
>>> hrea
>>> > d=2471&tstart=0&trange=15
>>> >
>>> > Dig it.
>>> >
>>> > tV

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"

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Can I suggest, espc to "repeat offenders" like Kim and Tobias ;-), using 
"tinyurl.com" to shorten these links to managable lengths?

Here's the tinyurl for the Tate site:

http://tinyurl.com/6ub6e

If you are still having trouble seeing it, it's definitly a browser 
issue, and you should complain directly to the Tate's web dept for 
making something that doesn't meet the normal W3 standard.

derek



tkrakowiak wrote:
> http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&thread=2471&tstart=0&trange=15 
> 
> 
> 
> On Fri, 18 Feb 2005 08:51:07 -0800 (PST), guiver ben 
> <xxxxxxxxx@xxxxx.xxx>  wrote:
> 
>> nope i get the same shit. maybe someone could sya what
>> the page is about then i can jsut search it on the
>> tate site.....
>>
>>
>> --- COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx>
>> wrote:
>>
>>> make sure you have the full link in the address bar
>>>
>>>
>> http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
>>
>>> hrea d=2471&tstart=0&trange=15
>>>
>>> not just the first line
>>>
>>> - R
>>>
>>>
>>> -----Original Message-----
>>> From: guiver ben [mailto:xxxxxxxxx@xxxxx.xxx]
>>> Sent: 18 February 2005 15:39
>>> To: microsound
>>> Subject: Re: [microsound] TATE dicussion: Oswald,
>>> Kahn et al.
>>>
>>> er i dont understand i got the page but it was a
>>> load
>>> of gobledegook. any tips.....
>>>
>>>
>>>
>>> --- "tobias c. van Veen" <xxxxxx@xxxxxx.xx> wrote:
>>>
>>> >
>>> >
>>>
>> http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
>>
>>> hrea
>>> > d=2471&tstart=0&trange=15
>>> >
>>> > Dig it.
>>> >
>>> > tV

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"

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From ???@??? Fri Feb 18 17:17:15 2005
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try this link
http://tinyurl.com/6ub6e

guiver ben wrote:

>nope i get the same shit. maybe someone could sya what
>the page is about then i can jsut search it on the
>tate site.....
>  
>

-- 
Jim Lee - Bamboo Turtle Studio
Forensic Audio, Group Facilitation,
Sound Art, Sculpture, Photography, 
and Lighting Design.
http://www.bambooturtle.us/
919 682 5853

Co-Curator: upstART Gallery
http://www.upstartgallery.com

--Boundary_(ID_DNSa1GkJereSjJZg97gvtg)--

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Date: Fri, 18 Feb 2005 12:14:42 -0500
From: tkrakowiak <xxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] TATE dicussion: Oswald, Kahn et al.
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http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&thread=2471&tstart=0&trange=15


On Fri, 18 Feb 2005 08:51:07 -0800 (PST), guiver ben <xxxxxxxxx@xxxxx.xxx>  
wrote:

> nope i get the same shit. maybe someone could sya what
> the page is about then i can jsut search it on the
> tate site.....
>
>
> --- COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx>
> wrote:
>
>> make sure you have the full link in the address bar
>>
>>
> http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
>> hrea d=2471&tstart=0&trange=15
>>
>> not just the first line
>>
>> - R
>>
>>
>> -----Original Message-----
>> From: guiver ben [mailto:xxxxxxxxx@xxxxx.xxx]
>> Sent: 18 February 2005 15:39
>> To: microsound
>> Subject: Re: [microsound] TATE dicussion: Oswald,
>> Kahn et al.
>>
>> er i dont understand i got the page but it was a
>> load
>> of gobledegook. any tips.....
>>
>>
>>
>> --- "tobias c. van Veen" <xxxxxx@xxxxxx.xx> wrote:
>>
>> >
>> >
>>
> http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
>> hrea
>> > d=2471&tstart=0&trange=15
>> >
>> > Dig it.
>> >
>> > tV
>> >
>> >
>> > tobias c. van Veen -----------++++
>> > http://www.quadrantcrossing.org --
>> > http://www.thisistheonlyart.com --
>> > McGill Communication + Philosophy
>> > ICQ: 18766209 | AIM: thesaibot +++
>> >
>> >
>> >
>>
> ---------------------------------------------------------------------
>> > To unsubscribe, e-mail:
>> > xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> > For additional commands, e-mail:
>> > xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> > website: http://www.microsound.org
>> >
>> >
>>
>>
>> __________________________________________________
>> Do You Yahoo!?
>> Tired of spam?  Yahoo! Mail has the best spam
>> protection around
>> http://mail.yahoo.com
>>
>>
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>>
>>
>>
>>
>>
> ---------------------------------------------------------------------
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>
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-- 
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From ???@??? Fri Feb 18 16:51:16 2005
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nope i get the same shit. maybe someone could sya what
the page is about then i can jsut search it on the
tate site.....


--- COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx>
wrote:

> make sure you have the full link in the address bar
> 
>
http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
> hrea d=2471&tstart=0&trange=15
> 
> not just the first line
> 
> - R 
> 
> 
> -----Original Message-----
> From: guiver ben [mailto:xxxxxxxxx@xxxxx.xxx] 
> Sent: 18 February 2005 15:39
> To: microsound
> Subject: Re: [microsound] TATE dicussion: Oswald,
> Kahn et al.
> 
> er i dont understand i got the page but it was a
> load
> of gobledegook. any tips.....
> 
> 
> 
> --- "tobias c. van Veen" <xxxxxx@xxxxxx.xx> wrote:
> 
> > 
> >
>
http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
> hrea
> > d=2471&tstart=0&trange=15
> > 
> > Dig it.
> > 
> > tV
> > 
> > 
> > tobias c. van Veen -----------++++
> > http://www.quadrantcrossing.org --
> > http://www.thisistheonlyart.com --
> > McGill Communication + Philosophy
> > ICQ: 18766209 | AIM: thesaibot +++ 
> > 
> > 
> >
>
---------------------------------------------------------------------
> > To unsubscribe, e-mail:
> > xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail:
> > xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> > 
> > 
> 
> 
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam
> protection around 
> http://mail.yahoo.com 
> 
>
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> 
> 
> 
>
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> 


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From: COSTELLOE Richard <xxxxxxx.xxxxxxxxx@xxxxx.xxx>
Subject: RE: [microsound] TATE dicussion: Oswald, Kahn et al.
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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 FILETIME=[36AA7D00:01C515D4]

make sure you have the full link in the address bar

http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
hrea d=2471&tstart=0&trange=15

not just the first line

- R 


-----Original Message-----
From: guiver ben [mailto:xxxxxxxxx@xxxxx.xxx] 
Sent: 18 February 2005 15:39
To: microsound
Subject: Re: [microsound] TATE dicussion: Oswald, Kahn et al.

er i dont understand i got the page but it was a load
of gobledegook. any tips.....



--- "tobias c. van Veen" <xxxxxx@xxxxxx.xx> wrote:

> 
>
http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&t
hrea
> d=2471&tstart=0&trange=15
> 
> Dig it.
> 
> tV
> 
> 
> tobias c. van Veen -----------++++
> http://www.quadrantcrossing.org --
> http://www.thisistheonlyart.com --
> McGill Communication + Philosophy
> ICQ: 18766209 | AIM: thesaibot +++ 
> 
> 
>
---------------------------------------------------------------------
> 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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Subject: Re: [microsound] TATE dicussion: Oswald, Kahn et al.
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er i dont understand i got the page but it was a load
of gobledegook. any tips.....



--- "tobias c. van Veen" <xxxxxx@xxxxxx.xx> wrote:

> 
>
http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&threa
> d=2471&tstart=0&trange=15
> 
> Dig it.
> 
> tV
> 
> 
> tobias c. van Veen -----------++++
> http://www.quadrantcrossing.org --
> http://www.thisistheonlyart.com --
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http://www.tate.org.uk/contact/forums/onlineevents/thread.jsp?forum=43&threa
d=2471&tstart=0&trange=15

Dig it.

tV


tobias c. van Veen -----------++++
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From ???@??? Fri Feb 18 13:33:27 2005
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hello all.

i'm going to visit the san francisco area from april 8 through april 
14, together with my collegues from steim, michel waisvisz and joel 
ryan.
we're looking for places to play, or present the steim software / 
hardware (LiSa, junXion, the junXion box).
now i know this question comes up every now and then but with the 
search engine offline (skylined.org or 
propheticdesire.com/microsound.htm right??)..., does anyone has any 
recommendations?

please contact me offlist.
thanks in advance.

greetings,
robert



---+-----+--+-+--+-++---+-+++--+---+++---
robert van heumen
managing director STEIM
http://www.steim.nl ++---
electric sound hardhatarea
http://hardhatarea.com --+-
http://humanelectric.net +--
---+-----+--+-+--+-++++---+-+--+---+-+-+-


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From ???@??? Fri Feb 18 05:27:53 2005
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Oh snap!

I humbly stand corrected.

kp


On Feb 17, 2005, at 9:07 AM, David Powers wrote:

> The history of violin playing, the virtuosity that must be attained, is
> precisely what makes it an esoteric and aristocratic discipline,
> something inacessible to most of us.  I love violin playing, but in a
> hierarchical society founded on wage labor and dead end jobs, it's not
> an option for most people, and to hold it up as a musical ideal is
> tantamount to declare that music is an activity that should only be
> accessible to the privileged few.
>
> Button pushing, on the other hand, is very relevant to the
> post-industrial experience.  I am a trained composer, who makes my
> living as a secretary at a university.  If the only possibility of
> creating music was to play an instrument like a violin that takes a
> lifetime to master, I would not be able to make music.  Even if I rely
> on others to do the playing, I'm in a similar situation - I wrote a
> string quartet that has never been played, due to my lack of ability to
> pay good string players to play it, or even read through it!
>
> So if I can create music through the use of buttons and sliders,
> computers, cheap consumer electronics, and anything that is readily
> available and affordable to the working person, that's an incredible
> opportunity!  I'm a piano player but I don't own a piano, so the
> availability of cheap keyboard instruments is also an amazing asset.  I
> don't understand why some people want music to be an elite activity 
> only
> available to a privileged few.
>
> I can make beautiful music through button pushing, it's a way of
> transforming the drudge work of button pushing that I do in my office
> monkey job into something totally different.  In my personal artistic
> philosophy, I look at art as the transformation of every day life, a
> micro-revolution where the mundane undergoes a secret mutation to 
> become
> extraordinary and potentially liberating.
>
> ~David
>
>>>> xxxxxxx@x.xxxxxxxxxx.xxx 02/10/05 03:10PM >>>
> Aside from the lesser level of physical minutiae involved in the act of
>
> pushing buttons/twiddling knobs, it seems important that virtuosity on
>
> a violin is also the result of hundreds of years of technique,
> training, and experimentation... when you listen to the playing of a
> violin, you're engaging with that history as much as you're engaging
> with the physical process of playing. This is something that simply
> doesn't exist for Lemur-type instruments, synthesizers, etc., at this
> point in time.
>
> - Scott Carver
>
> On Feb 10, 2005, at 11:37 AM, Frank D'Urso wrote:
>
>> Oh dear God I hope you're kidding, but if you're not, that's a jaw
>> dropping statement. I don't see how anyone can consider themselves a
>
>> musician or even a lover of music without being awed at a display of
>
>> mastery over a physical instrument. The amount of minute motor
> control
>> honed over decades, synapses working in perfect harmony with
>> appendages, the mind performing astronomical calculations on the fly
>
>> in order to make horse hair dragging over cat gut sound beautiful?
>> It's one of the greatest heights to which a human can aspire. I'm
>> sorry, but it doesn't take a tenth the skill to twiddle knobs (even
> if
>> you built the box and wrote the software) that it does to master a
>> "dead-ended physical instrument". kp
>> ------------------------------------------------------------
>>
>> ha, in my first real band I often would get into this argument with
>> our ham fisted guitar player, he likened my magnus air organ to
>> "pushing buttons"
>>
>> This is my first post here, I'm Frank D'Urso of Roman the Edge from
>> Boston.  Interesting discussions, I like it here.
>>
>> Frank "RtE" D'Urso
>>
>>
>>
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From ???@??? Thu Feb 17 21:57:06 2005
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Date: Thu, 17 Feb 2005 15:57:39 -0600
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Subject: [microsound] Kendra Juul contact?
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Hi everyone,

Does anyone have a current e-mail address for Kendra Juul? The 
address I have for her just bounced. Please contact me off-list.

Thanks,

john

-- 

>>

john kannenberg

[ http://www.johnkannenberg.com ]

[ http://www.stasisfield.com ]



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From ???@??? Thu Feb 17 19:52:45 2005
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david's right.  

i advocate the playing of 4'33'' on a lemur. 




and ya don't quit./


b.
g.












--- David Powers <xxxxxxxx@xxxxxx.xxx> wrote:

> The history of violin playing, the virtuosity that
> must be attained, is
> precisely what makes it an esoteric and aristocratic
> discipline,
> something inacessible to most of us.  I love violin
> playing, but in a
> hierarchical society founded on wage labor and dead
> end jobs, it's not
> an option for most people, and to hold it up as a
> musical ideal is
> tantamount to declare that music is an activity that
> should only be
> accessible to the privileged few.
> 
> Button pushing, on the other hand, is very relevant
> to the
> post-industrial experience.  I am a trained
> composer, who makes my
> living as a secretary at a university.  If the only
> possibility of
> creating music was to play an instrument like a
> violin that takes a
> lifetime to master, I would not be able to make
> music.  Even if I rely
> on others to do the playing, I'm in a similar
> situation - I wrote a
> string quartet that has never been played, due to my
> lack of ability to
> pay good string players to play it, or even read
> through it!  
> 
> So if I can create music through the use of buttons
> and sliders,
> computers, cheap consumer electronics, and anything
> that is readily
> available and affordable to the working person,
> that's an incredible
> opportunity!  I'm a piano player but I don't own a
> piano, so the
> availability of cheap keyboard instruments is also
> an amazing asset.  I
> don't understand why some people want music to be an
> elite activity only
> available to a privileged few.  
> 
> I can make beautiful music through button pushing,
> it's a way of
> transforming the drudge work of button pushing that
> I do in my office
> monkey job into something totally different.  In my
> personal artistic
> philosophy, I look at art as the transformation of
> every day life, a
> micro-revolution where the mundane undergoes a
> secret mutation to become
> extraordinary and potentially liberating.
> 
> ~David
> 
> >>> xxxxxxx@x.xxxxxxxxxx.xxx 02/10/05 03:10PM >>>
> Aside from the lesser level of physical minutiae
> involved in the act of
> 
> pushing buttons/twiddling knobs, it seems important
> that virtuosity on
> 
> a violin is also the result of hundreds of years of
> technique, 
> training, and experimentation... when you listen to
> the playing of a 
> violin, you're engaging with that history as much as
> you're engaging 
> with the physical process of playing. This is
> something that simply 
> doesn't exist for Lemur-type instruments,
> synthesizers, etc., at this 
> point in time.
> 
> - Scott Carver
> 
> On Feb 10, 2005, at 11:37 AM, Frank D'Urso wrote:
> 
> > Oh dear God I hope you're kidding, but if you're
> not, that's a jaw 
> > dropping statement. I don't see how anyone can
> consider themselves a
> 
> > musician or even a lover of music without being
> awed at a display of
> 
> > mastery over a physical instrument. The amount of
> minute motor
> control 
> > honed over decades, synapses working in perfect
> harmony with 
> > appendages, the mind performing astronomical
> calculations on the fly
> 
> > in order to make horse hair dragging over cat gut
> sound beautiful? 
> > It's one of the greatest heights to which a human
> can aspire. I'm 
> > sorry, but it doesn't take a tenth the skill to
> twiddle knobs (even
> if 
> > you built the box and wrote the software) that it
> does to master a 
> > "dead-ended physical instrument". kp
> >
>
------------------------------------------------------------
> >
> > ha, in my first real band I often would get into
> this argument with 
> > our ham fisted guitar player, he likened my magnus
> air organ to 
> > "pushing buttons"
> >
> > This is my first post here, I'm Frank D'Urso of
> Roman the Edge from 
> > Boston.  Interesting discussions, I like it here.
> >
> > Frank "RtE" D'Urso
> >
> >
> >
>
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> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx 
> > For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx 
> > website: http://www.microsound.org 
> >
> 
> 
>
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> 



                
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From ???@??? Thu Feb 17 17:05:18 2005
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The history of violin playing, the virtuosity that must be attained, is
precisely what makes it an esoteric and aristocratic discipline,
something inacessible to most of us.  I love violin playing, but in a
hierarchical society founded on wage labor and dead end jobs, it's not
an option for most people, and to hold it up as a musical ideal is
tantamount to declare that music is an activity that should only be
accessible to the privileged few.

Button pushing, on the other hand, is very relevant to the
post-industrial experience.  I am a trained composer, who makes my
living as a secretary at a university.  If the only possibility of
creating music was to play an instrument like a violin that takes a
lifetime to master, I would not be able to make music.  Even if I rely
on others to do the playing, I'm in a similar situation - I wrote a
string quartet that has never been played, due to my lack of ability to
pay good string players to play it, or even read through it!  

So if I can create music through the use of buttons and sliders,
computers, cheap consumer electronics, and anything that is readily
available and affordable to the working person, that's an incredible
opportunity!  I'm a piano player but I don't own a piano, so the
availability of cheap keyboard instruments is also an amazing asset.  I
don't understand why some people want music to be an elite activity only
available to a privileged few.  

I can make beautiful music through button pushing, it's a way of
transforming the drudge work of button pushing that I do in my office
monkey job into something totally different.  In my personal artistic
philosophy, I look at art as the transformation of every day life, a
micro-revolution where the mundane undergoes a secret mutation to become
extraordinary and potentially liberating.

~David

>>> xxxxxxx@x.xxxxxxxxxx.xxx 02/10/05 03:10PM >>>
Aside from the lesser level of physical minutiae involved in the act of

pushing buttons/twiddling knobs, it seems important that virtuosity on

a violin is also the result of hundreds of years of technique, 
training, and experimentation... when you listen to the playing of a 
violin, you're engaging with that history as much as you're engaging 
with the physical process of playing. This is something that simply 
doesn't exist for Lemur-type instruments, synthesizers, etc., at this 
point in time.

- Scott Carver

On Feb 10, 2005, at 11:37 AM, Frank D'Urso wrote:

> Oh dear God I hope you're kidding, but if you're not, that's a jaw 
> dropping statement. I don't see how anyone can consider themselves a

> musician or even a lover of music without being awed at a display of

> mastery over a physical instrument. The amount of minute motor
control 
> honed over decades, synapses working in perfect harmony with 
> appendages, the mind performing astronomical calculations on the fly

> in order to make horse hair dragging over cat gut sound beautiful? 
> It's one of the greatest heights to which a human can aspire. I'm 
> sorry, but it doesn't take a tenth the skill to twiddle knobs (even
if 
> you built the box and wrote the software) that it does to master a 
> "dead-ended physical instrument". kp
> ------------------------------------------------------------
>
> ha, in my first real band I often would get into this argument with 
> our ham fisted guitar player, he likened my magnus air organ to 
> "pushing buttons"
>
> This is my first post here, I'm Frank D'Urso of Roman the Edge from 
> Boston.  Interesting discussions, I like it here.
>
> Frank "RtE" D'Urso
>
>
>
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From ???@??? Thu Feb 17 16:20:45 2005
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Date: Thu, 17 Feb 2005 17:22:18 +0100
From: Noisejihad <xxxx@xxxxxxxxxx.xx>
Subject: [microsound] Noisejihad this weekend...
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--Boundary_(ID_YnSbZ0XCIDPqhorhIve96A)
Content-Type: text/plain; charset=iso-8859-1
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RYFYLKE (N)
DANNY KREUTZFELDT (DK)

for people who enjoy jazzkammer/pita and/or pure.
more info: www.noisejihad.dk

tonight @ 1000Fryd, Aalborg, Denmark.
sat. 19/2 @ splab, Aarhus, Denmark.

coming soon: Noisejihad Net Label: recordings of the liveconcerts published for the public. First up: Mag Necro (J) + Ultimate Combat Noise (DK). 

Later: Massaccesi, END, Drop the Lime, Milk Muts, Kim Cascone, Caroliner...

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Next: Electrical Bonding on Desolation House >>> www.desolationhouse.com
Now: Uncomfortable Positions - mp3-ep on Fukk God >>> www.fukkgod.org
key to knowledge on danish noise >>> www.noisejihad.dk
art >>> www.ideations.dk
www.waldchengarten.dk
--Boundary_(ID_YnSbZ0XCIDPqhorhIve96A)--

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Subject: [microsound] reminder - PHONIQ NETLABEL LAUNCH FEB 19 2005
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PHONIQ NETLABEL LAUNCH

FEATURING

NETLABEL ARTISTS:
bleupulp - live - Quebec City (syndroma.org, pertin_nce)
fm_man - live (rave.ca)
insomniak - dj/live (insomniak.ca)
sarcastic - dj (level4productions.com)

SPECIAL GUEST DJ:
philgood -special detroit set- (inbeat records)

PHONIQ RESIDENTS:
naw - live (noisefactoryrecords.com)
cyan - dj (modular systems, ckut)
khanfucius - dj (panospria.com)

VISUALS:
delray - (rx-tx/asphodel/reflective)
johnny ranger - (mindroots.com)


SATURDAY FEBRUARY 19
le local
7154 st-urbain

2100 - 0600
$5 at the door

http://www.phoniq.net/


*PRESS RELEASE*

The phoniq collective invites you to the launch of the phoniq netlabel.
over the past year phoniq has been active in canada's electronic music
community, coordinating live music series, initiating country wide
dialog through our mailing list and web portal and involving artists
in projects and collaborations.

now we are happy to announce the the launch of the phoniq netlabel
as well as the launch of the new phoniq.net website which will encourage
even more interaction and participation from electronic music artists.
phoniq netlabel will release material online in mp3 format
at regular intervals, giving exposure to the breadth of canadian talent.

the label kicks off with releases from 12 artists, featuring the sounds
of up and coming artists as well as those already known within the
electronic music community. the launch party on february 19th will
play host to 4 of these 12 artists. bleupulp of quebec city will make his
first live appearance in montreal with a minimal techno set. montreal's
fm_man will perform a live set of his dancefloor rocking beats,
insomniak brings his techno infused breakbeat sound, and sarcastic
will play his signature blend of cutting edge tek.

also appearing at the launch will be guest dj philgood, well known in
montreal for his unique electro style. for this event he will delve into
the crates to bring us a rare detroit techno set - not to be missed!
phoniq residents naw, khanfucius and cyan will be rounding out the night
into minimal, deep, glitch and dub techno territories.

throughout the night, vjs johnny ranger and delray will stimulate and
intrigue with their diverse visual textures and techniques.


*BIOS/INFO*

PHONIQ [www.phoniq.net]

phoniq is a collective working to foster collaboration and communication
between electronic music artists in canada. phoniq.net is a web portal
where artists are invited to join our growing community by participating
in our mailing list as well as ongoing projects. projects include live
music series, file sharing collaborations, and the phoniq netlabel.

BLEUPULP [syndroma.org]

maxime tanguay aka bleupulp is an active member of quebec city electronic
music scene he fisrt started dj-ing jungle music in rave parties around
2000, then opened up for various electronic music style such as techno,
house, idm, minimal  ...  his love for electronic music pushed him to
start creating his own music, since about 2002 you can hear him playing
live with machines and laptop. his music could be described as colourful,
texturized and experimental. he is currently working on a few projects
such as a net label, cd-r, and cd album releases.
maxime is part of the syndroma colective and the pertinence crew,
organizations that focus on promoting quality electronic music.

PHILGOOD [inbeat records]

Having spent more than half of his life behind turntables, Philgood has
always given priority to music that takes the listener into new dimensions,
stimulating dance, excitement, and an escape from the rigors of everyday life.
Philgood has by now caught the ears and attention of electronica scenesters
the world over. Through appearances at such renowned Montreal clubs as Sona,
Circus, Red Lite or Playground, and via his performances overseas, Philgood
has dropped records alongside techno luminaries including Laurent Garnier,
Marco Carola, Richie Hawtin, DJ Rush, Sven Väth, Green Velvet, Thomas Krome,
Joel Mull and T-1000.

SARCASTIC [level4productions.com]

This amorphous being has contributed to the subculture’s cabalistic causes
on many levels for the past decade, performing at virtually all of Montreal's
clubs and coast-to-coast across the country alongside techno luminaries
including Frankie Bones, Thomas Krome, Slobodan or The Punisher, and minimal
experimentalists such as Andrew Duke, Kero, Algorithm, or Deadbeat. Possessed
since childhood with a needling drive to splice together discrete musical
compositions, first with cassette decks, microphones, CD players or 8-tracks,
it was only a matter of time before an unwitting companion introduced Sarcastic
to his destiny in the early nineties: the Technics-1200. Since, Sarcastic has
founded Level 4 Productions, a record label, artist collective and promotion
company synonymous with the cutting-edge of techno. His love for the chugging
repetitive nature of ghettotek, pure tek, acid house and hardcore genres
remains informed by an early appreciation for hip-hop, stoner rock, jazz and
psychedelia of all sorts. Equally at home behind two or three decks,
Sarcastic’s styles range from the abstract headiness of minimal and
experimental tek to his own tongue-in-cheek productions based largely on
recognizable samples from such disparate sources as movies, rap or funk.

INSOMNIAK [insomniak.ca]

___ Base:: Montreal, Canada.
___ Weapon of choice:: a mashup of heavyweight breakbeats and funky analog
techno.
___ Releases:: two 12” singles (under the name Phreak) and numerous compilation
and independent cd releases. The single “Deep Phreak” was remixed by house
legend John Aquaviva and found its way on to DJ play-lists around the world.
___ Televison:: creation of breakbeat theme songs and cues for MTV’s “Blame
Game”
and “Crush” on the USA Network as well as station ID beats for the new
channel “MTV Jams”. Also heard on CBC "ZED TV" and soon on "Nerve".
___ Live performances:: have included opening for such international acts as
The Art of Trance, Spacetime Continuum, Misjah, Westbam, The Stickmen, Skylab
2000, Delta 9 and Kenny Ken.

FM_MAN [rave.ca]

21 year old Montreal native Scott Philip has been producing electronic
music since 1996, covering a wide range of musical styles. Fm_man is
his latest solo music project, combining the influences of house,
techno, dub, jazz, synthpop, idm, industrial, and electro into a
fusion of dance floor friendly sounds. Widely respected in the
underground online music community, Scott's music has topped charts on
several music portals including mp3.com and rave.ca.

NAW [noisefactoryrecords.com]

montreal native neil wiernik began his
explorations in electronic music making as early as 1988. known to push
the boundaries of his musical form, naws music is a blend of sound
manipulation/design, experimental music and dub-tech rhythms, which on the
surface sound quite simple, but incorporate a number of touches that steer
this artist away from being simply another minimal techno or experimental
laptop artist. he combines post-house, dubby minimal techno, microsound
and thick ambience, to create his own version of deep techno, house and
other electronic laptop oriented musics. neil has released music on
various national and international record labels, including recent releases
on clever-music, and his follow up full length to his 2002 noise factory
release called green nights orange days. he has recently returned from tours
in france, germany, and canada.to co-enside with his recent releases on these
labels and pans to retunr to europe this summer for more tours including a
performance at the now legendary sonar festival in barcelona, spain.

CYAN [ckut, traktion.com]

Montreal based dj, radio host and producer cyan aka Corina MacDonald has
been an active participant in montreal’s electronic music scene since 1996.
She currently hosts modular systems, an electronic music magazine show on
ckut 90.3 fm and is also involved in organizing phoniq collective events
and projects. Her sound can best be described as layered, dense and deep
rhythms intersecting the genres of techno, house and electro.  Her
independently produced DJ mix ‘The Gravity Protocol’ has been received in
a very positive light by reviewers and techno fans alike.

KHANFUCIUS [panospria.com]

Constantine has been active in exploring the electronic arts since the
early 1990s. He became involved in the BBS scene at a young age,
tracking music modules and drawing ascii art. By 1996 he chose the
alias Khanfucius and began as a DJ, playing an assortment of strange,
abstract and ambient music at local clubs, raves and other events
in the prairies. His active involvement in the scene spawned many
projects, including the event production company Uninhibited Sound
System with his fellow DJs and the artistic collective Panospria.
Musical side projects around this time included playing laptop
and synths in the improv electronic band Mandelbrot Set and co-producing
an album as Break Fluid with Sasafras of the hip hop group Isosceles.
His first solo album as Khanfucius, The Phuzzillogikal Basement Tapes
96-98, was compiled and released independently prior to moving to Dublin,
Ireland in 1999. This release caught the attention of radio DJ Keith
Downey who invited him to co-host his show on Kiss FM called Psychonavigation.
Keith would go on to start Psychonavigation Records and release music
by Constantine and his Canadian associates. Upon his return to Canada,
he took up residence in Ontario and studied in the fields of audio and
multimedia. Since 2001, his focus has been fixed on his experimental music
and sound-art project as Scant Intone. Currently living in Montreal, he
is working on upcoming solo and collaborative works as well as coordinating
projects for both Panospria and Psychonavigation Records.

DELRAY [rx-tx/asphodel/reflective]

Matthew Biederman’s (DelRay) diverse range of audiovisual performances
and installations find their common ground in themes of “cut-up”
electronic image delivery, media saturation, data systems and
electromagnetic spectrum scanning. Biederman, who has performed and
exhibited both nationally and internationally, has recently developed
his work via various prestigious artist-in-residence programs or
festival “laboratories” including the Center for Experimental
Television (New York), Makrolab (while situated at Blair Atholl,
Scotland) and SIGGRAPH. In addition to winning awards as Bay Area
Artist in New Media (New Langton Arts) and first prize at the Break21
Festival (Slovenia), his work has been exhibited in numerous festivals
including the 7 Festival Internacional (Lima, Peru) New Forms Festival
(Vancouver, Canada), the Chicago Underground Film Festival,
Paris/Berlin Recontres International, and Edinburgh Fringe Festival.
Biederman also performs extensively in the US and abroad most recently
at such venues as Signal Sever! (Futuresonic04, ISEA, and venues in
Vienna, Ljubljana, and Paris) as well as the Museum of Contemporary
Art, Chicago where he works with a variety of sound artists to perform
Audio/Visual compositions.

JOHNNY RANGER [mindroots.com]

The artistic projects of Johnny Ranger include VJING, Interdisciplinary
Shows, Performances and Web art. He is the founder of Mindroots a
sensuous poetic laboratory of non linear creation. He has been a regular
at the SAT, he presented works at the Biennale d’art contemporain,  the
New Museum of Contemporary art in New York, EspaceTangente and at
the Lachapelle theater amongs other. He is currently working on a new
live performance of open ended audio-visual narratives entitled: The
Dynamic Constellations which includes footages he has shot in Brazil,
India, Indonesia and Canada.



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From ???@??? Thu Feb 17 14:36:23 2005
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Date: Thu, 17 Feb 2005 09:36:15 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: [microsound] new publication: Torben Sangild
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ola, 

Torben Sangild lets me know that he has some work out..

best, tobias


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

From: Torben Sangild


I just thought I'd let you know that the book "Bad Music" was finally
published in October 2004. Apart from my essay "Glitch The Beauty of
Malfunction" there is also an essay by Eliot Bates called  "Glitches, bugs
and hisses: the degeneration of musical recordings and the contemporary
musical work" that might be of interest.

More info here:
    http://cat.lib.unimelb.edu.au/search/i?SEARCH=0415943655+

Feel free to post the reference on the microsound group.

Best,
    
    Torben

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From ???@??? Thu Feb 17 13:48:15 2005
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From: bremsstrahlung recordings <xxxx@xxxxxxxxxxxxxx-xxxxxxxxxx.xxx>
Subject: [microsound] jos smolders?
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i am trying to contact jos smolders but the earlabs addresses i have tried
keep bouncing.  if anyone has an address of his which has worked in the last
week i'd really appreciate it if you could send it to me off list.

thanks!
josh

----

www.bremsstrahlung-recordings.org

NEW: net-audio sublabel TRANS>PARENT RADIATION
trans001 - Spellewauerynsherde, Interpretations Various & Sundry
featuring freely downloadable tracks by
Fennesz/Kit Clayton/Taylor Deupree/Steve                Roden/Stephan
Matthieu/Alejandra & Aeron/etc.

physical releases:
   blung002 lowercasesound 2002 2cd box set

  3" cd metal box series [2 CD] - 2nd edition
    blung003 toshiya tsunoda/civyiu kkliu
  . blung004 radu malfatti/ilya monosov




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From ???@??? Thu Feb 17 12:36:17 2005
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ONDA SONORA (Radio Sesiones Experimentales), Madrid (ES)

Radio Círculo de Bellas Artes 100.4 FM - Miércoles/Wednesday 15h - 
www.circulobellasartes.com 

Radio Autónoma 88.8 FM - Mar-Jue/Tue-Thu 16h - www.uam.es/ra

Escucha en directo a cualquier hora / Listen live real time - 
www.ondasonoraradio.com

_________________________________

Contenidos Onda Sonora 16-02-05

01. AMON TOBIN
Track: -
Album: Tom Clancy's Splinter Cell: Chaos Theory OST
Label: Ninja Tune

Abrimos el programa de esta semana con la sorprendente banda sonora de la última edición del videojuego Splinter Cell, compuesta por el músico electrónico brasileño Amon Tobin. Edita Ninja Tune con una mezcla de los contenidos musicales del videojuego

Soundtrack for the lastest edition of the videogame Splinter Cell, composed by the Brazilian electronic musician Amon Tobin. Released by Ninja Tune with a mix from the musical contents of the game

02. TADD MULLINIX
Track: Shaven Glass
Album: VA- Condominium
Label: Mousike lab

Compilación titulada "Condominium", recientemente editada por el sello italiano Mousike Lab. Una colección de electrónica de corte más o menos frío en la que encontramos entre otros artistas a los alemanes Tarwater, los islandeses Mùm o Tadd Mullinix, un joven DJ de Michigan formado en el mundo del techno que progresivamente ha ido trasladándose hacia terrenos más experimentales

Compilation entitled "Condominium", recently released by the Italian imprint Mousike Lab. A collection of more or less cold electronics with, among other artists, the German Tarwater, the Icelandic Mùm or Tadd Mullinix, a young DJ from Michigan formed in the world of techno that progressively moved towards more experimental lands

03. RESINA
Track: Jeninbophal
Disco: Opinio Omnium
Sello: Mousike Lab

Continuamos en Mousike Lab desde Nápoles, precisamente de la mano de los impulsores del sello, Marco Messina del grupo 99 Posse, y el dúo electrónico italiano Retina.it, a quienes conocemos por sus lanzamientos en el sello norteamericano Hefty. Su proyecto conjunto se llama Resina y esta es una muestra de electrónica analógica procedente de su debut en largo: "Opinio Omnium"

Still in Mousike Lab from Naples, in fact by the hand of the promoters of the idea, Marco Messina from the group 99 Posse, and the Italian electronic duet Retina.it, who we know for their releases on the Hefty label in the US. Their combined project is Resina and analogical electronics for their debut LP: "Opinio Omnium"

04. FABRICE PLANQUETTE 
Track: 4
Album: Dans La Solitude Des Champs De Coton
Label: Con-v

Artista que viene trabajando desde 1995, interesado por la creación electrónica y electroacústica para teatro, danza, videoarte, multimedia e instalaciones, aunque practica igualmente la poesía sonora y la composición abstracta, siendo fundador del grupo Morituri, además de dirigir los sellos Centrum y Optium, donde ha publicado gran parte de su discografía, a caballo con otros sellos como el belga Entity, el portugués Enough o el netlabel madrileño Con-v, dirigido por Miguel Ángel Tolosa, un sello muy dinámico en los últimos tiempos

Fabrice Planquette is an artist working since 1995 interested in electronic and electroacoustic creation for theater, dance, videoart, multimedia and installations, practising equally sound poetry and abstract composition. He is founder member of the group Morituri, besides directing the labels Centrum and Optium, where he has released great part of its discography, together with other labels as the Belgian Entity, the Portuguese Enough or more recently Con-v netlabel from Madrid

05. DEAD LETTERS SPELL OUT DEAD WORDS
Track: The Hills Are Alive
Album: 11 Instances Of Dead Letters + Words
Label: Ideal Recordings

Sonidos concretos encontrados junto a drones melódicos, ensamblados a lo largo de 50 minutos y 11 instancias por el sueco Thomas Ekelund, diseñador gráfico y artista sonoro, involucrado en varios proyectos (entre ellos Normal Music), casi todos editados en net-labels con base en los Estados Unidos como Zeromoon o Fukk God. Este es su último trabajo como Dead Letters Spell Out Dead Words

Concrete found sounds next to melodic drones, assembled along 50 minutes and 11 instances by Thomas Ekelund, Swedish graphic designer and sound artist, involved in several projects (among them Normal Music), almost every of them released in net-labels with base in the United States like Zeromoon or Fukk God. This is his last work as Dead Letters Spell Out Dead Words on Ideal Recordings (Sweden)

06. MARK FELL
Track: 12,13,14
Album: Ten Types Of Elsewhere
Label: Line

Nueva aventura en solitario de Mark Fell tras su prolífica colaboración con Mat Steel en SND. Este disco, "Ten Types Of Elsewhere", parte de obras realizadas para instalaciones de sonido en las que investiga en la relación entre los sonidos y el espacio geográfico en el que efímeramente residen

Mark Fell rushes a new adventure after his fruitful collaboration with Mat Steel in SND. Their last record, "Ten Types Of Elsewhere", departs from works carried out for sound installations in which he investigates the relationship between sounds and the geographical environments in which they fleetingly reside

07. MONOS
Track: Entering
Album: Landscapes
Label: Twentyhertz

Uno de los largos cortes del nuevo CD de Monos, "Landscapes", una colaboración entre el dúo formado por Darren Tate (de Ora) y Colin Potter (que formó NWW junto a Steven Stapleton), en esta ocasión con el apoyo de Robin Barnes y junto al también británico Paul Bradley, compositor por ordenador que edita el disco en su propio sello Twentyhertz, bautizado así tras el debut de Bradley en el sello ICR, del propio Colin Potter

Collaboration between the duet formed by Darren Tate (of Ora) and Colin Potter (that formed NWW with Steven Stapleton), in this occasion with the support of Robin Barnes (for this track) and Paul Bradley, British computer-based composer that is releasing the work in his own Twentyhertz label, baptized this way after Bradley's debut in Colin Potter's ICR label

08. NAKED CITY
Track: Louange A L'Eternite De Jesus (Messiaen)
Album: Grand Guignol (The Complete Studio Recordings)
Label: Tzadik

Para los minutos finales de Onda Sonora esta semana hemos reservado una novedad que hará las delicias de los admiradores del saxofonista John Zorn y en especial a los de su más heterogéneo proyecto, Naked City, banda formada en 1988 por Zorn y otros cuatro músicos del downtown neoyorkino: Bill Frisell, Fred Frith, Joey Baron y Wayne Horvitz. Naked City editaron originalmente casi todo su material sólo en Japón, por lo que actualmente John Zorn se ha lanzado a la publicación de las grabaciones completas de la banda, remasterizadas y con colaboraciones de lujo como la de Mike Patton. Nos despedimos con Naked City y una versión del compositor francés Olivier Messiaen, incluída en una de los discos reeditados, "Grand Guignol"

For the final minutes of Onda Sonora this week we reserved a novelty for the pleasure of saxophonist John Zorn's admirers and especially to those of his most heterogeneous project, Naked City, band formed in 1988 by Zorn and other four musicians from the downtown: Bill Frisell, Fred Frith, Joey Baron and Wayne Horvitz. Naked City originally released almost all their material in Japan, reason for John Zorn to re-release the complete recordings of the band in his Tzadik label, remastered and with collaborators such as Mike Patton. This is a version from the French composer Olivier Messiaen, included in one of the reissued works, "Grand Guignol"

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From ???@??? Thu Feb 17 00:44:21 2005
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Date: Wed, 16 Feb 2005 18:14:02 -0600
From: David Powers <xxxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Lemur!
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Well...  Playing an instrument is impressive, true, but - is it really
what makes music so amazing?  Isn't that more along the level of
enjoying sports and athletic events?  Personally, I'm more interested in
the way a musical performance SOUNDS than in how much skill was required
to create the music.  I think the fetishization of technique is
problematic, to say the least.

I'd say that technique is just a means to an end, and that the kind of
skills and techniques needed for one project might be total different
from another.  Being a great jazz pianist might not help you create a
brilliant electronic composition, and being a great electronic composer
won't help you play jazz piano.  Each activity should be evaluated on
its own merits.  I play jazz piano, but I'm just as happy twiddling
knobs if that is what the music I'm currently involved in requires.

~David


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

>>> xxxxx@xxxxxxxxxxxx.xxx 02/08/05 01:07PM >>>

Oh dear God I hope you're kidding, but if you're not, that's a jaw 
dropping statement. I don't see how anyone can consider themselves a 
musician or even a lover of music without being awed at a display of 
mastery over a physical instrument. The amount of minute motor control

honed over decades, synapses working in perfect harmony with 
appendages, the mind performing astronomical calculations on the fly in

order to make horse hair dragging over cat gut sound beautiful? It's 
one of the greatest heights to which a human can aspire. I'm sorry, but

it doesn't take a tenth the skill to twiddle knobs (even if you built 
the box and wrote the software) that it does to master a "dead-ended 
physical instrument".

kp


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From ???@??? Wed Feb 16 21:53:27 2005
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On Feb 16, 2005, at 4:07 PM, Anthony Saunders wrote:

>
> DSP-Quattro is the new competition to Peak and it's very significantly 
> cheaper than Peak and just as powerful, with significantly better tech 
> support; you generally get an email back from the guy who writes the 
> app, rather than a faceless customer service person, and they are 
> incredibly responsive to feature suggestions.

stefano (the author) is great. i've used his products
for many years (dsp-quattro was originally d-sound-pro)
and they've always been way more than worth the money.
nice to see that he's still making them better and getting
kudos in major trades.
cheers
b

bruce tovsky
www.skeletonhome.com


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>
> =======================
>
>  "The Most Horrible Night In Your Life" vol. 3
> 'Noise of a Woman'
>  Wednesday, February 16th , 8:30pm
>  PWYC
>
>  New Works Studio
>  319 Spadina Ave. ( 1 lights north of Spadina and Dundas)
>  3 solo sets by:
>
>  Cathryn Crockett - 1x4 space
>  Jasmine Landau - metal wires, last breath melodica
>  Dominique Banoun - cpu freezes , memory leaks.
>
>  followed by a trio
>
>
> =======================
>


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From ???@??? Wed Feb 16 21:07:31 2005
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DSP-Quattro is the new competition to Peak and it's very significantly 
cheaper than Peak and just as powerful, with significantly better tech 
support; you generally get an email back from the guy who writes the 
app, rather than a faceless customer service person, and they are 
incredibly responsive to feature suggestions.

Highly recommended for anyone looking for an alternative to Peak for 
whom Audacity doesn't fit the bill.

And I agree with Nowak, Sound Effects 0.9.2 is awesome and one of the 
apps I'm keeping an OS 9 partition on my old g3 ibook for. Weird Tempo 
forever!

Anthony

On Feb 16, 2005, at 5:26 AM, Domonkos Nagy wrote:
>
> although my money has been refunded by the seller I strongly recommend
> against buying any product from them. another fine example what happens
> when competition (spark) is gone...


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aufabwegen presents

18.02.2005, einlass: 20.00h

ILIOS (antifrost/greece)
&
XABIER ERKIZIA (antifrost/spain)

live:
kulturbunker mülheim
berliner str. 20
51063 koeln
http://www.kulturbunker-muelheim.de

UND:

19.02.2005, einlass: 20.00h

geraeuschwelten XIX

ILIOS (antifrost/greece)
&
SPEHRICAL DISRUPTED (audiophrob/germany)
&
XABIER ERKIZIA (antifrost/spain)

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

info:
http://www.siteilios.gr/
http://www.disrupted.de
http://www.ertza.net/erkizia.htm
http://www.antifrost.gr/



Dimitris Kariofillis zählt mit seinem Musikprojekt ILIOS und seinem Label
Antifrost zu den wichtigsten Vertretern der internationalen Szene der
nicht-akademischen elektronischen Musik. ILIOS hat auf zahlreichen
internationalen Festivals gespielt und mit Musikern wie Thurston Moore
(Sonic Youth) oder Francisco Lopez zusammen gearbeitet. Außerdem komponiert
ILIOS Musik für Theater- und Filmarbeiten. Als Support stellt Kariofillis
den hierzulande noch neuen Sound-Manipulator XABIER ERKIZIA vor.

ILIOS:
is a sonic experimentalist from Greece. He started in 1992 and since has
released a number of solo albums, staged several multimedia shows and
contributed tracks to numerous compilations on labes such as Staalplaat,
Diskono and Absurd. In 1997 he launched his own label Antifrost on which he
publishes the music of like-minded experimental musicians including
Francisco Lopez, Sachiko M, Daniel Menche, Kim Cascone, Jason Kahn, Zbigniew
Karkowski, Maja Ratkje and Philip Samartzis. Ilios also works for dance,
theatre, cinema and communication projects. He did collaboration projects
with: Francisco Lopez, Jason Kahn, Coti, Steinbruechel, Teleform, Thurston
Moore, as11, a.o. In the last 10 years ilios´s sonic spectrum has been
moving constantly from orthodox silence to catholic noise stopping over to
infamous covers including Gainsbourg's "Je t'aime" and the theme from
american soap opera "Dynasty".

SPHERICAL DISRUPTED
SPHERICAL DISRUPTED ist ein Solo-Projekt von Mirko Hentrich (Experimentum
Crucis, Sick En For, SKAB). Zunächst wurden die Tonträger im Eigenvertrieb
unter dem Namen SPHERICAL veröffentlicht. Aus rechtlichen Gründen jedoch ab
1999 unter dem Namen SPHERICAL DISRUPTED.

SPHERICAL DISRUPTED bewegt sich musikalisch zwischen Industrial, Noise und
Ambient, was bereits eine unkonventionelle Herangehensweise an Klänge, bzw.
deren Erzeugung und Bearbeitung, voraussetzt.

Folgende Veröffentlichungen sind von SPHERICAL DISRUPTED im Eigenvertrieb
erschienen:
"Zerschellt, zersplittert" (MC, 1995)
"Vergeltung" (CD-R, 1998)
"Endstation" (CD-R, 1998)
"Entsorgung" (CD-R, 2000)
"Kontingent" (2CD-R, 2003)
"Torrent" (CD-R, 2002, Kaos Interim vs. Spherical Disrupted, live)
"Alarmen / Spherical Disrupted" (CD-R, 2003, Split mit Alarmen)


XABIER ERKIZIA:
is a multidisciplinary artist from the Basque Country in Spain. Has been
working on different media. Erkizia's principal characteristics are
investigation, some kind of curiosity on any art or communication form and
diversity. His debut album "Entresol" was just released on Antifrost. Xabier
Erkizia has collaborated with the likes of: Mattin, Eddie Prevost, Ilios, TV
Pow, Alejandra & Aeron, Margarida Garcia, Mark Wastell, Josh Abrams and
others.
He organises a yearly international festival in Bera (Nafarroa) ERTZ ,
dedicated to experimental arts.
Currently his work is concentrated on music collaborations, solo works and
installations.


-----------------
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: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist  for Febuary 2, 2005
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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?
> 2005/02/02
>
>
> Artist
> Song Title
> Album Title
> Label
>
> Hubbub
> Hoib 1
> Hoib
> Matchless Records
>
>
>
> Wayne Horivitz/Ron Samworth, etc...
> Childern At Play
> Intersection Poems
> Spool
> *
>
>
>
> Cecil Taylor/Italian Instabile Orchestra
> Part 5
> The Owner of The Riverbank
> Enja Records
>
>
>
> Peter Brotzmann Tentet
> Six Gun Territory
> Signs
> Okka disc
>
>
>
> Nathan Hubbard
> Skeleton Key Orchestra
> East on 53rd Street
> Skeleton Key Orchestra
> Circumvention Music
>
>
>
> Kenny Baldwin
> Quartet
> 25th Street Rag
> Distillery
> Static Airport Records
> *
>
>
>
> Nick Fraser/Justin Haynes
> The Anaheim Angels
> Are Faking It
> independent
> *
>
>
>
> Manuel Mota
> Deep in Your Face
> Quartets
> Headlights
>
>
>
> Ernesto Rodriques
> 32' 45'
> Kreis
> Creative Sources
>
>
>
> Yuko Nexus 6
> Village Blacksmith
> Nexus6 Songbook
> Sonore
>
>
>
> Sarah Peebles
> Drillbit Skiploop
> Insect Groove
> Studio Excelo
> *
>
>
>
> Mike Hansen/Pau Torres
> track 1
> demo
> independent
> *
>
>
>
> Paul Dutton
> Stereo Head
> Oralizations
> Ambience Magnestiques
> *
>
>
>
> The Reveries
> My Reverie
> Blase Kisses
> Rat-Drifting
> *
>
>
>
> Maja Ratkje/Lasse
> Marhaug
> How Much Noise
> Can We Make?(Lets Find Out)
> Music For Faking
> C3R
>
>
>
> Mats Gustafsson/Sonic Youth and Friends
> Hidros pt 3
> Hidros 3
> Smalltown Supersound
>
>
>
> Franz Hautzinger/Gene Coleman/etc
> Concert in St Louis 2
> Concert in St Louis
> Grob
>
>
>
> John Butcher
> Ashfall
> Cavern With Nightlife
> Weight of Wax
>
>
>
> James Duncan
> Encounters 2
> Solo Works
> inbound Recordings
> *
>
>
>
> Michael Keith
> Horses
> Non Adhersive Electric Guitar Solos
> www.alexteric.com
> *
>
>
>
> Pau Torres/Strand
> Closed Schools
> Strand Guitar and Noises
> Red
>
>
>
> A.Sheldon/Z.Buck/E.Karel/J.Ajemian/T.Daisy
> Don't Get Arrested
> Relay Signals
> Lucky Kitchen
>
>
>
> Yuko nexus6
> Lazy Bones
> Nexus6 Songbook
> Sonore
>
>
>
> Sarah peebles
> Higurashi In Yamanashi
> Insect groove
> Studio Excelo
> *
>
>
>
> Barbardah
> Peliczaple
> Babardah
> Abzu
>
> * denotes Canadian Content
>
>
> 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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more to do in London-
There's a Christian Marclay show at the Barbican that opens tomorrow, til 
early May, and an interesting Guardian article about Marclay, old and new-

www.guardian.co.uk/arts/features/story/0,,1412362,00.html

And a Tarkovsky season at the NFT beginning early March...

best,
Ian



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Theophraste Peeble wrote:
>2 - I'll be in London from the 20th february to the 5 march...
    if you've got plans for concerts, exhibitions, etc that should be great


There's an electroacoustic concert at City U in London on the eve of Thurs 
Feb 24 (7pm), with new works by Jean-Claude Risset, Daniel Teruggi, Mario 
Mary and Jon Appleton. Advisable to reserve tickets by phone, and show up 
early- details here:

www.city.ac.uk/music/concert.htm

If any microsounders end up there, say hello- anyone involved with setup 
will know who I am. We always go for drinks after the show,
Ian



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Subject: Re: [microsound] Collectibility of Digital Files?
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> if you can remember when cassette tape came out, people were upset.  i
> forget the ad, but it went something like: "taping is killing..." the
> independent recording artist's income.

"Home Taping is Killing Music"

http://usability.typepad.com/confusability/images/taping_killing.gif

;)

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Subject: Re: [microsound] Collectibility of Digital Files?
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hello folks,

i think permanence has a lot to do with collecting.  physical objects
are more permanent than digital files.  if someone likes something
enough, i think they will always want a copy of it in a tangible form.

if you can remember when cassette tape came out, people were upset.  i
forget the ad, but it went something like: "taping is killing..." the
independent recording artist's income.

so how do musicians make a living these days if you can't sell an
object?  playing live is important these days for musicians who want to
make an income.  there is always a certain amount of energy/excitement
generated from a live situation...if only in expectations or curiousity.

it seems for convenince's sake, people are downloading albums and songs
from places like the itunes store, but i don't think artists will get
much out of that.    who knows where things are going.  personally, i
like to use my airport express to play mp3s through my stereo on the
other side of the room, as well as other rooms in the house.  wireless
technology is probably going to play a part in how things go in the
future.

maybe musicians will make more unique, one-of-a-kind works, similar to
the way painting and sculpture are sold/traded/exhibited...

best future,
john

> 
> On Feb 16, 2005, at 2:48 AM, Kevin Ponto wrote:
> 
> > By "collector", I think he meant someone who is interested in the
rare 
> > finds and complete catalogs, bootlegs and so forth as well as huge 
> > libraries, as opposed to people who just amass as many files as they 
> > can with little regard for what they have.
> >
> > The point of course, is that the limitations of physical
distribution 
> > have provided people with the pastime of collecting, yet the digital 
> > distribution model is not hampered by these limitations. So will 
> > collecting, in this sense, survive and if it does, how will it
differ 
> > from today?
> >
> > Personally, I've had the experience of trying to track down a rare
mp3 
> > online. it's no easy chore, almost as hard as trying to track down 
> > something in real life. It was an mp3 that was only posted to an 
> > artists website for a few weeks. I grabbed it and had for a while, 
> > then I lost it (fried computer parralled a physically corrupted
backup 
> > cd) and spent six months or so trying to track it down on p2p
networks 
> > and the internet before I found it again. The whole experience, and 
> > the rush I got when I finally found it, was not unlike that of 
> > physical collecting.
> >
> > Anyone else have a similar experience or insight?

jhudak at pobox.com
http://www.johnhudak.net

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From ???@??? Wed Feb 16 14:32:19 2005
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Date: Wed, 16 Feb 2005 14:31:44 +0000
From: Alex Young <xxxx@xxxxx.xx.xx>
Subject: Re: [microsound] bias peak license change
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 FILETIME=[63095CA0:01C51434]

I had the opposite experience with DSP Quattro (http://www.i3net.it):  
I stupidly messed up my license when I upgraded it to version 2, and 
they sorted it out for me.  I much prefer it to Audacity (not that 
Audacity isn't a great project, I just like some of DSP Quattro's 
features), and it's a lot cheaper than Peak.  i3 seem to be quite nice, 
too :)

On 16 Feb 2005, at 10:26, Domonkos Nagy wrote:
> before anyone else learns this the hard way, do *not* buy peak (or any 
> bias
> product) 2nd hand (as i did on ebay), as bias does not allow 
> registration/license
> transfers anymore. quote from their cust. rep's mail:
>
>> Unfortunately, our company policy regarding
>> license transfers changed several months ago, and
>> I am unable to transfer this license to a new user.
>
> although my money has been refunded by the seller I strongly recommend
> against buying any product from them. another fine example what happens
> when competition (spark) is gone...
>
> d.

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


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From ???@??? Wed Feb 16 11:10:26 2005
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Date: Wed, 16 Feb 2005 12:10:11 +0100
From: Bernhard Schreiner <xxxxxxxxxxx@xxx.xx>
Subject: [microsound] Ilios + Xabier Erkizia in Frankfurt/Germany
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LIVE:
Ilios  and  Xabier Erkizia

ATELIERFRANKFURT, Hohenstaufenstr. 27, Frankfurt/M.
Thursday 17.02.2005   open 21:30

ANTIFROST (GR) : http://www.antifrost.gr/
Extreme sound souvenirs since 1997

info: http://www.siteilios.gr/        http://www.ertza.net/erkizia.htm

Dimitris Kariofillis zählt mit seinem Musikprojekt ILIOS und seinem Label Antifrost zu den wichtigsten Vertretern der internationalen Szene der nicht-akademischen elektronischen Musik. ILIOS hat auf zahlreichen internationalen Festivals gespielt und mit Musikern wie Thurston Moore (Sonic Youth) oder Francisco Lopez zusammen gearbeitet. Außerdem komponiert ILIOS Musik für Theater- und Filmarbeiten. Als Support stellt Kariofillis den hierzulande noch neuen Sound-Manipulator XABIER ERKIZIA vor.

ILIOS:
is a sonic experimentalist from Greece. He started in 1992 and since has released a number of solo albums, staged several multimedia shows and contributed tracks to numerous compilations on labes such as Staalplaat, Diskono and Absurd. In 1997 he launched his own label Antifrost on which he publishes the music of like-minded experimental musicians including Francisco Lopez, Sachiko M, Daniel Menche, Kim Cascone, Jason Kahn, Zbigniew Karkowski, Maja Ratkje and Philip Samartzis. Ilios also works for dance, theatre, cinema and communication projects. He did collaboration projects with: Francisco Lopez, Jason Kahn, Coti, Steinbruechel, Teleform, Thurston Moore, as11, a.o. In the last 10 years ilios´s sonic spectrum has been moving constantly from orthodox silence to catholic noise stopping over to infamous covers including Gainsbourg's "Je t'aime" and the theme from american soap opera "Dynasty".

XABIER ERKIZIA:
is a multidisciplinary artist from the Basque Country in Spain. Has been working on different media. Erkizia's principal characteristics are investigation, some kind of curiosity on any art or communication form and diversity. His debut album "Entresol" was just released on Antifrost. Xabier Erkizia has collaborated with the likes of: Mattin, Eddie Prevost, Ilios, TV Pow, Alejandra & Aeron, Margarida Garcia, Mark Wastell, Josh Abrams and others.
He organises a yearly international festival in Bera (Nafarroa) ERTZ , dedicated to experimental arts.
Currently his work is concentrated on music collaborations, solo works and installations.

______________________________________________________________
Verschicken Sie romantische, coole und witzige Bilder per SMS!
Jetzt bei WEB.DE FreeMail: http://f.web.de/?mc=021193


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From ???@??? Wed Feb 16 10:36:17 2005
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On Feb 16, 2005, at 5:26 AM, Domonkos Nagy wrote:

> before anyone else learns this the hard way, do *not* buy peak (or any 
> bias
> product) 2nd hand (as i did on ebay), as bias does not allow 
> registration/license
> transfers anymore. quote from their cust. rep's mail:
>
>> Unfortunately, our company policy regarding
>> license transfers changed several months ago, and
>> I am unable to transfer this license to a new user.
>
> although my money has been refunded by the seller I strongly recommend
> against buying any product from them. another fine example what happens
> when competition (spark) is gone...

Thanks for the heads up. Audacity suits me fine now, but should it not 
in the future I know what to avoid.

I miss SoundEffects 0.9.2.

- John


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From ???@??? Wed Feb 16 10:26:53 2005
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 FILETIME=[041D19B0:01C51412]

before anyone else learns this the hard way, do *not* buy peak (or any bias
product) 2nd hand (as i did on ebay), as bias does not allow registration/license 
transfers anymore. quote from their cust. rep's mail:

  > Unfortunately, our company policy regarding
  > license transfers changed several months ago, and
  > I am unable to transfer this license to a new user.

although my money has been refunded by the seller I strongly recommend
against buying any product from them. another fine example what happens
when competition (spark) is gone...

d.

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From ???@??? Wed Feb 16 09:07:55 2005
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Date: Wed, 16 Feb 2005 11:07:46 +0200
From: Andrey Kiritchenko <xxxxxxxx@xxx.xxx>
Subject: [microsound] [adv] zavoloka - plavyna [cd] on Nexsound.
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Hello dear comrades.
new CD on Nexsound is out now:

Zavoloka - Plavyna - /CD ns37 
Katja Zavoloka - musician from Kyiv / Ukraine, who released significant mp3 album Suspenzia, continues with her invented type of sound when melodies and crazy rhythms combined with abstract analogue and digital noises.
The sound of Zavoloka is very impuslive mixture of rich, dense and often unexpected soundscapes, but at the same time it goes into warm and nice atmosphere. PLAVYNA inspired a lot by ethnic culture of Ciscarpathian region of Ukraine and thus mixed with ethno-folk music of that area. 

take a look:
http://www.nexsound.org/zavoloka-plavyna.html

thanks for attention.

- ..   -  +  , ,  ..  +++> -
environmental music : http://www.nexsound.org

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From ???@??? Wed Feb 16 08:14:42 2005
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Subject: Re: [microsound] Collectibility of Digital Files?
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On Feb 16, 2005, at 2:48 AM, Kevin Ponto wrote:

> By "collector", I think he meant someone who is interested in the rare 
> finds and complete catalogs, bootlegs and so forth as well as huge 
> libraries, as opposed to people who just amass as many files as they 
> can with little regard for what they have.
>
> The point of course, is that the limitations of physical distribution 
> have provided people with the pastime of collecting, yet the digital 
> distribution model is not hampered by these limitations. So will 
> collecting, in this sense, survive and if it does, how will it differ 
> from today?
>
> Personally, I've had the experience of trying to track down a rare mp3 
> online. it's no easy chore, almost as hard as trying to track down 
> something in real life. It was an mp3 that was only posted to an 
> artists website for a few weeks. I grabbed it and had for a while, 
> then I lost it (fried computer parralled a physically corrupted backup 
> cd) and spent six months or so trying o track it down on p2p networks 
> and the internet before I found it again. The whole experience, and 
> the rush I got when I finally found it, was not unlike that of 
> physical collecting.
>
> Anyone else have a similar experience or insight?

Collecting is an obsessive behavior. My obsessive behaviors come out in 
other ways.

I have thought about this in the past. One thing I came up with was 
releasing mp3s on my site, and then having the server remove them after 
N number of downloads. Of course such an effort is easily thwarted by 
any number of means. I think its best to give up the idea of collecting 
really.

Actually, I do sort of collect stuffed octopi...

- John


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From ???@??? Wed Feb 16 07:48:50 2005
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By "collector", I think he meant someone who is interested in the rare 
finds and complete catalogs, bootlegs and so forth as well as huge 
libraries, as opposed to people who just amass as many files as they 
can with little regard for what they have.

The point of course, is that the limitations of physical distribution 
have provided people with the pastime of collecting, yet the digital 
distribution model is not hampered by these limitations. So will 
collecting, in this sense, survive and if it does, how will it differ 
from today?

Personally, I've had the experience of trying to track down a rare mp3 
online. it's no easy chore, almost as hard as trying to track down 
something in real life. It was an mp3 that was only posted to an 
artists website for a few weeks. I grabbed it and had for a while, then 
I lost it (fried computer parralled a physically corrupted backup cd) 
and spent six months or so trying o track it down on p2p networks and 
the internet before I found it again. The whole experience, and the 
rush I got when I finally found it, was not unlike that of physical 
collecting.

Anyone else have a similar experience or insight?

kp


On Feb 15, 2005, at 8:26 PM, John Nowak wrote:

>
> On Feb 15, 2005, at 10:17 PM, Kevin Ponto wrote:
>
>> Since it is inevitable that music as a media will be a virtual object 
>> what will happen to the collector?
>
> People already have massive mp3 collections that they never listen to. 
> People are already collecting. Where's the dilemma?
>
> - John
>
>
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ar[eu]
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-------------------[european citizen only]-------------------------
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From ???@??? Wed Feb 16 04:26:47 2005
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On Feb 15, 2005, at 10:17 PM, Kevin Ponto wrote:

> Since it is inevitable that music as a media will be a virtual object 
> what will happen to the collector?

People already have massive mp3 collections that they never listen to. 
People are already collecting. Where's the dilemma?

- John


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From ???@??? Wed Feb 16 03:33:55 2005
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A healthy mechanism for reducing attachment to the physical :)

 Noel 
 
-----Original Message-----
From: Frank D'Urso [mailto:xxxxxx@xxxxxxx.xxx] 
Sent: Wednesday, 16 February 2005 2:31 PM
To: microsound
Subject: Re: [microsound] Collectibility of Digital Files?

I have pondered this myself.

I have enjoyed MP3's since the 1990's but have been confused how to 
"collect" them.  A guy here in Boston did a CDrom release of all his 
albums as MP3 files...WAY ahead of his time - (KINGS OF FEEDBACK - Bill 
T Miller) I didn't buy it because I did not understand it....and have 
not been able to find a copy since....

Meanwhile I amassed maybe 1 GB of music/sound from many obscure sources 
on my work computer.....I have that disk drive packed away soemplace but

didn't consider the MP3s as part of my collection.....

When MP3.com starting sending out CDroms of MP3 files I finally got that

these were professional releases and thus "worthy" of my collection.  
Since I've accumulated MP3 files but not added them to my collection.  
I'd download stuff and burn CDs occasionally over the years, but no big 
deal.  IPOD made organizing my MP3's way easier, but mostly I used it as

a way to track my CD's at work and share music via IPOD station.

I finally got an MP3 player this xmas and NOW I think that MP3's are 
fully valid form of media worthy of my attention now that I have a way 
to listen and transport sounds and music files.

I "collect" music by creating a file for each album and storing right on

my MP3 player, I can burn CDroms when I want to but no rush.  I think 
the keys for me is the ability to play this music anywhere, have a easy 
to use hi tech database, and the flexibility/storability to handle a 
LARGE amount of information.

Frank "recent convert" D'Urso

Kevin Ponto wrote:

> Hey list,
>
> Someone posted this question on the Ableton Live forum, and I though 
> it would be a good question to ask this bunch and see what your take 
> on it was, so here goes...
>
> kp
>
> ...................................
>
> Cosmosuave wrote:
>
> Since it is inevitable that music as a media will be a virtual object 
> what will happen to the collector? The reason people collect CD's and 
> LP's is because it is a tangible object, nice artwork, posters, pop up

> album cover all that sort of stuff which down the road increases the 
> value of that said media....
>
>  How will this transcribe to a digital release? Will the collector 
> have a special electronic id indicating limited release and where is 
> the enjoyment in that... If a release is deemed to be a hit I guess 
> the label could release a limited edtion MP3 USB chip with fancy 
> packaging for the collector....
>
>  Something to ponder...



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From ???@??? Wed Feb 16 03:31:24 2005
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I have pondered this myself.

I have enjoyed MP3's since the 1990's but have been confused how to 
"collect" them.  A guy here in Boston did a CDrom release of all his 
albums as MP3 files...WAY ahead of his time - (KINGS OF FEEDBACK - Bill 
T Miller) I didn't buy it because I did not understand it....and have 
not been able to find a copy since....

Meanwhile I amassed maybe 1 GB of music/sound from many obscure sources 
on my work computer.....I have that disk drive packed away soemplace but 
didn't consider the MP3s as part of my collection.....

When MP3.com starting sending out CDroms of MP3 files I finally got that 
these were professional releases and thus "worthy" of my collection.  
Since I've accumulated MP3 files but not added them to my collection.  
I'd download stuff and burn CDs occasionally over the years, but no big 
deal.  IPOD made organizing my MP3's way easier, but mostly I used it as 
a way to track my CD's at work and share music via IPOD station.

I finally got an MP3 player this xmas and NOW I think that MP3's are 
fully valid form of media worthy of my attention now that I have a way 
to listen and transport sounds and music files.

I "collect" music by creating a file for each album and storing right on 
my MP3 player, I can burn CDroms when I want to but no rush.  I think 
the keys for me is the ability to play this music anywhere, have a easy 
to use hi tech database, and the flexibility/storability to handle a 
LARGE amount of information.

Frank "recent convert" D'Urso

Kevin Ponto wrote:

> Hey list,
>
> Someone posted this question on the Ableton Live forum, and I though 
> it would be a good question to ask this bunch and see what your take 
> on it was, so here goes...
>
> kp
>
> ...................................
>
> Cosmosuave wrote:
>
> Since it is inevitable that music as a media will be a virtual object 
> what will happen to the collector? The reason people collect CD's and 
> LP's is because it is a tangible object, nice artwork, posters, pop up 
> album cover all that sort of stuff which down the road increases the 
> value of that said media....
>
>  How will this transcribe to a digital release? Will the collector 
> have a special electronic id indicating limited release and where is 
> the enjoyment in that... If a release is deemed to be a hit I guess 
> the label could release a limited edtion MP3 USB chip with fancy 
> packaging for the collector....
>
>  Something to ponder...



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From ???@??? Wed Feb 16 03:17:16 2005
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From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
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Hey list,

Someone posted this question on the Ableton Live forum, and I though it 
would be a good question to ask this bunch and see what your take on it 
was, so here goes...

kp

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

Cosmosuave wrote:

Since it is inevitable that music as a media will be a virtual object 
what will happen to the collector? The reason people collect CD's and 
LP's is because it is a tangible object, nice artwork, posters, pop up 
album cover all that sort of stuff which down the road increases the 
value of that said media....

  How will this transcribe to a digital release? Will the collector have 
a special electronic id indicating limited release and where is the 
enjoyment in that... If a release is deemed to be a hit I guess the 
label could release a limited edtion MP3 USB chip with fancy packaging 
for the collector....

  Something to ponder...


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From ???@??? Wed Feb 16 02:22:21 2005
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---------- Forwarded message ----------
From:  le-son666 <xxxx@xx-xxxxxx.xxx>
Subject: dimanche electrique en fevrier


le prochain dimanche electrique sera le 20 fevrier

portes 20h, show 21h, 5$

naw
simon called peter
bunny clide
et invite(e) special(e)!

hemisphere gauche, 221 beaubien est (metro beaubien)

www.le-son666.com


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From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] Melb: uber lingua over the coming week(s)
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Uber Lingua at St Jeromes chugs along nicely with some solid Melbourne based
and interstate guests over the coming weeks...

this week Cheops, a member of the act Qua, and Paulie Penguin are the
featured guest disc spinners ... goto http://www.uberlingua.com/melb for
more info

Coming up over the coming weeks are Mashy P from Sydney, Sakamoiz from
Hobart, Alan Nguyen from Brisbane and a few others still to be confirmed...

We're still starting at around 6pm each week so pop down for an after work
beverage or come later as we're open till 1am....

St Jeromes 7 Caledonian Lane Melb CBD (directly behind the lounge)
Every Thursday from 6pm to 1am
Residents: Raceless, bP and Saigon Sausage
______________________

Other News

DJs Raceless, bP and Saigon Sausage will also be featured throughout the
(completely sold out) St Jeromes laneway festival on Feb 27th.... so if
you're comin we'll see you there.

Uber Lingua is about to do events in Adelaide during the Womad weekend
(March 4th, 5th, 6th) and two more lingo events in Hobart with the cluster
collective, one in Feb (25th) and one in late March (25th)... DJs for these
gigs are coming from all over Australia and teaming up with similarly
motivated locals. 

More info closer to those dates...

Demos can be sent to PO Box 2613 Fitzroy 3065



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From: ". m u r m e r ." <xxxxxx@xxxxxx.xxx>
Subject: [microsound] [playlist] framework - 11.02.05
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framework broadcasts live every friday (except the first one of each month) on resonance104.4fm  in london (uk) or worldwide on http://www.resonancefm.com between 8:30 and 9:30pm gmt, and is repeated the following wednesday between 11:00am and 12:00 noon gmt

next live broadcast: 18.02.05
~ time zone converter: http://www.thesaturnv.com/converter.html


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

 

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


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

first, a correction: i announced last playlist that 2005's first edition of framework:focus, which is coming up this friday, the 18th of february, would feature a live performance by stasisfield's john kannenberg.  in fact, john will be joining us for our second edition of framework:focus, which will air on the 18th of march.  this coming friday's edition will feature a work presented by regular framework contributor dallas simpson, in the form of an unedited soundwalk recorded in 1988 by his mother, entitled peggy's paradise.   dallas himself describes his mother's detailed narrative description of her surroundings thusly: 'Mum's work is about emotive description, rather than any kind of objective accuracy. It is the sheer simplistic joy of the moment by moment experience that is communicated.'  please tune in if you can - it should be a great show.

this edition was held together by a skeleton of tranquil recordings made by jesse paul miller, along with some of his composed (although still very raw) work.  we also heard recent unreleased work by jean-luc guionnet, both solo and in collaboration with eric la casa.  this was tempered by noisier outings on the 23five label; some live material from francisco lopez, and some re-released archival material by gum, a vinyl manipulating project by andrew curtis and philip samartzis from the late 80's.

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


framework
31 nevill road
london n16 8sl
uk

xxxxxxxxx@xxxxxx.xxx



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


11.02.05

this edition will be rebroadcast this wednesday, 16.02.05, at 11:00am gmt 

(artist  /  title  /  album  /  label)

sarah hall  /  framework intro
ambient room recording from the inside of an empty jug
c/o xxxxxxxx@xxxxxx.xxx

gum  /  stormy weather  /  vinyl anthology  /  23five
vinyl crackle and noise from unidentified record sources, a storm of static
http://www.23five.org

jesse paul miller  /  ponce inlet  /  searching for a quiet place  /  -
a sleepy seaside town where sharks are seen coming in where the warm waters meet
http://www.gogoweb.com/jpm

eric la casa & jean-luc guionnet  /  -  /  inscape  /  -
edited from recordings made of an installation in lille using found sound captures
http://ascendre.free.fr, xxxxxxxx.xxxx-xxx@xxxxxxx.xx

jesse paul miller  /  bait shop, merritt island  /  searching for a quiet place  /  - 
unexpected sounds of this small shop, filled with convenience items, novelty goods, caged crickets and fishtanks
http://www.gogoweb.com/jpm

jesse paul miller  /  -  /  2000-2003  /  -
edited from field recordings taken from nebraska, colorado and washington state
http://www.gogoweb.com/jpm

francisco lopez  /  live at the lab - hexaphonic, 08.05.00  /  live in san francisco  /  23five
trademark slow build of white noise and unrecognisable tonal material, blending nicely with jesse's untreated soundscapes
http://www.franciscolopez.net/, http://www.23five.org 

jesse paul miller  /  swamp at sunset  /  searching for a quiet place  /  - 
at the edge of blue springs park, insects sing as three small hawks battle overhead
http://www.gogoweb.com/jpm

gum  /  outfits for agony  /  vinyl anthology  /  23five
more musical outing consisting of tonal drones from sound captures and found voices
http://www.23five.org

eric la casa & jean-luc guionnet  /  track 3  /  inscape  /  -
second edit from the installation, this time grittier and wetter
http://ascendre.free.fr, xxxxxxxx.xxxx-xxx@xxxxxxx.xx

jesse paul miller  /  night insects  /  searching for a quiet place  /  - 
strange insect noises captured on a winter night after a downpour
http://www.gogoweb.com/jpm

jean-luc guionnet  /  -  /  triangles de poussieres  /  -
first of three parts from this unreleased solo electro-acoustic work
xxxxxxxx.xxxx-xxx@xxxxxxx.xx

jesse paul miller  / footsteps: north central florida  /  2000-2003  /  -
soundwalk collage made during a residency at the atlantic center for the arts, new smyrna, fl
http://www.gogoweb.com/jpm


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


framework intro submissions:

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

welcome to framework.

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

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

thanks!



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



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

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


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

rob grant & melanie clifford  /  framework intro
thomas dimuzio  /  unearth & lift and spear  /  sonicism  /  rrrecords
chris watson  /  river mara at night   /  stepping into the dark  /  touch
johannes helden / - / sketchbook / trente oiseaux
toy bizarre  /  -  /  kdi dctb 116  /  absurd
murmer  /  liquid solid  /  definition  /  absurd
jgrzinich & seth nehil  /  the distant edge  /  confluence  /  intransitive
seth nehil & jgrzinich  /  the mirrored corner  /  stria  /  erewhon
annette lissauer  /  framework intro
toby paddock  /  air, surface and magnetic vibrations  /  -  /  -
steve roden  /  -  /  resonant cities  /  trente oiseaux
francisco lopez  /  untitled #101  /  untitled (2000)  /  ignis projekt
mnortham  /  ancient sewer pipe, valletta, malta  /  phonography.org 5  /  phonography.org
the quiet american  /  donkey trains leaving marpha, nepal  /  phonography.org 4  /  phonography.org
steve barsotti  /  trainyard presence  /  phonography.org 5  /  phonography.org
k. m. krebs  /  jericho sailing center (nautical gamelan)  /  phonography.org 4  /  phonography.org
david daniell  /  highway 371, forty miles south of farmington, january 19, 1998, 2:25 pm  /  sem  /  antiopic
joyce hinterding  /  -  /  spectral  /  antiopic/sigma editions
david daniell  /  dixon lake road, july 31, 1999, 5:45 am  /  sem  /  antiopic
tacet ncv  /  live on framework
jean-luc guionnet & bertrand denzler  /  live on framework
dallas simpson  /  framework intro
--Boundary_(ID_wgjPqf5//fqa6OCZAUyzUQ)--

From ???@??? Tue Feb 15 16:13:53 2005
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Subject: Re: [microsound] audacity not there
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i was excited about audacity and still think it works
fairly well having established the buggy limits. i
still cannot save projects in it and have them remain
retrievable. it breaks down the project into multiple
smaller files and it may be an issue with windows but
it will never reopen the files claiming that it
doesn't recoginize them (and i have tried changing
file extensions etc)--maddening. I've not used it yet
beyond 6 tracks but I always do the project in one
sitting and export it. many on the fx plug-ins don't
work that well but a few that do are actually very
nice. the denoiser is great.

--- tasty radish <xxxxxxxxxxx@xxxxx.xxx> wrote:

> i was using audacity to do some sound design for a
> piece. and i have to say, though it supposedly can
> handle having limitless tracks going on, this is
> really not the case. more then four in one file and
> you run into trouble --sometimes commands wouldn't
> register, etc, etc. (i am working on osx 867 600+
> ram)
> While good for making mp3's (better codec then
> itunes), it is not really up to the task of solid
> editing -- particularly where you need to work with
> a
> large number of different sounds in a sequence, and
> don't have the time to struggle with its buggy
> slow-downs. but I like the amplification feature
> (automatically gains to point before clipping) and
> the
> mp3's it generates are the best.  
> 
> -afs
> 
> 
>                 
> __________________________________ 
> Do you Yahoo!? 
> The all-new My Yahoo! - Get yours free! 
> http://my.yahoo.com 
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> 
> 
>
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> 



        
                
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From ???@??? Tue Feb 15 05:46:07 2005
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Subject: Re: [microsound] audacity not there
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On Feb 14, 2005, at 9:15 PM, tasty radish wrote:

>  it is not really up to the task of solid
> editing -- particularly where you need to work with a
> large number of different sounds in a sequence, and
> don't have the time to struggle with its buggy
> slow-downs.

Works fine for me (1.25GHz Albook w/ 10.3.8).

>  but I like the amplification feature
> (automatically gains to point before clipping)

This is the same as the normalize feature that all wave editors have.

>  and the
> mp3's it generates are the best.

I'm not sure about that.

- John


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From ???@??? Tue Feb 15 02:15:57 2005
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From: tasty radish <xxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] audacity not there
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i was using audacity to do some sound design for a
piece. and i have to say, though it supposedly can
handle having limitless tracks going on, this is
really not the case. more then four in one file and
you run into trouble --sometimes commands wouldn't
register, etc, etc. (i am working on osx 867 600+ ram)
While good for making mp3's (better codec then
itunes), it is not really up to the task of solid
editing -- particularly where you need to work with a
large number of different sounds in a sequence, and
don't have the time to struggle with its buggy
slow-downs. but I like the amplification feature
(automatically gains to point before clipping) and the
mp3's it generates are the best.  

-afs


                
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From ???@??? Mon Feb 14 22:30:01 2005
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Date: Mon, 14 Feb 2005 23:34:34 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] Berlin.Soundscape-FM.Net achive online
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http://berlin.soundscape-fm.net/

Berlin.Soundscape-FM is a collaborative soundwork in the city of Berlin, 
produced at the Transmediale Festival, 4-8 February 2005.

During these four days, sound artists, amateur sound hunters, 
phonographers and other interested participants collaborated on 
gathering sounds from different locations within the city of Berlin. The 
collected sounds ranged from the ever-present crosswalk signals, 
children's voices and U-Bahn wires to the acoustics of former CIA spy 
stations, empty theatres and the "Memory Void" of the Jewish Museum.

All of the sounds have been plotted out on a scalable map of Berlin 
which remains open to further contribution, making it a vital ongoing 
collaboration and online community.

For more info, please visit:

http://berlin.soundscape-fm.net/
http://www.soundscape-fm.net/

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"

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From ???@??? Mon Feb 14 22:09:52 2005
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From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] small label deals
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You can couch it in terms of art (and if its artistically good enough it
will shine and people will want it)

You can couch it in terms of commercialism (and if you create a sense that
the music is a necessary part of people's lives they should buy it)

You can couch it in terms of altruistic love (and do it because you love the
medium and want to share)

You can couch it in terms of arrogance and narcissistic focus (and release
it because you want everyone to feel you are important and cool)

Or you can just release it because it feels like a satisfactory end point to
a lot of hard work and you promised yourself you would do it because you
wanted to see that you could (and you can)

David @ Audiobulb
----- Original Message ----- 
From: "derek holzer" <xxxxx@x-x.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, February 14, 2005 10:04 PM
Subject: Re: [microsound] small label deals


> To add another dimension here, consider this:
>
> After conversations with several small-label owners and self-releasing
> artists, I've drawn the conclusion that most of these ventures are pretty
> much just self-sustaining. After the costs of producing and promoting the
> release, anything that comes back turns into seed capital for the next
> release.
>
> So for me, the question is of intention. If the intent is to put more
> physical merchandise into the world, then this is probably still a good
> way to go. But what is the point of that merchandise? No one's going to
> make any money on it in the long run. To me, a CD is just a method of
> distributing content, something like a calling card. The only way just
> about *any* experimental artist is going to make a living is through
> selling their time and prescence through commissions, lectures,
> installations, performances, workshops and so on. [Or at least that's how
> I do it, as a full-time working artist.] But certainly *not* from selling
> CDs. Hands up if you know *anyone* besides Green Day that actually lives
> on record sales...
>
> So, if the point is to get your material out there so people can hear it,
> and from that make a living from personal appearences and so on, then you
> might consider other methods beyond a limited-run CD release. I've found
> weblabels to be great for this, as there is a minimum of money and a
> minimum of fuss involved in this method of distribution.
>
> OTOH, having a great-looking CD out in the racks or in your hand to give
> to people is also a great way of spreading the message. I really do wonder
> if it reaches more or less people than on the web, espc considering that
> there are at least 1000 copies of each 12K release [for example] floating
> around on Slsk, Gnutella, EDonkey, Bittorrent, Hotline, etc at any given
> moment.
>
> So, if you find a label that is willing to do all those cool things like
> the artwork, promo and distribution, give it a shot. But unless it's a
> label with some brand-name recognition, you might reach a wider public via
> other, less costly channels. Just a thought, certainly nothing
> conclusive...
>
> best,
> derek
>
>
> -- 
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 36:
> "Consult other sources
> -promising
> -unpromising"
>
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> website: http://www.microsound.org
>
>
>
>


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From ???@??? Mon Feb 14 21:59:40 2005
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To add another dimension here, consider this:

After conversations with several small-label owners and self-releasing 
artists, I've drawn the conclusion that most of these ventures are 
pretty much just self-sustaining. After the costs of producing and 
promoting the release, anything that comes back turns into seed capital 
for the next release.

So for me, the question is of intention. If the intent is to put more 
physical merchandise into the world, then this is probably still a good 
way to go. But what is the point of that merchandise? No one's going to 
make any money on it in the long run. To me, a CD is just a method of 
distributing content, something like a calling card. The only way just 
about *any* experimental artist is going to make a living is through 
selling their time and prescence through commissions, lectures, 
installations, performances, workshops and so on. [Or at least that's 
how I do it, as a full-time working artist.] But certainly *not* from 
selling CDs. Hands up if you know *anyone* besides Green Day that 
actually lives on record sales...

So, if the point is to get your material out there so people can hear 
it, and from that make a living from personal appearences and so on, 
then you might consider other methods beyond a limited-run CD release. 
I've found weblabels to be great for this, as there is a minimum of 
money and a minimum of fuss involved in this method of distribution.

OTOH, having a great-looking CD out in the racks or in your hand to give 
to people is also a great way of spreading the message. I really do 
wonder if it reaches more or less people than on the web, espc 
considering that there are at least 1000 copies of each 12K release [for 
example] floating around on Slsk, Gnutella, EDonkey, Bittorrent, 
Hotline, etc at any given moment.

So, if you find a label that is willing to do all those cool things like 
the artwork, promo and distribution, give it a shot. But unless it's a 
label with some brand-name recognition, you might reach a wider public 
via other, less costly channels. Just a thought, certainly nothing 
conclusive...

best,
derek


-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 36:
"Consult other sources
-promising
-unpromising"

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From ???@??? Mon Feb 14 20:54:16 2005
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Subject: Re: [microsound] the clouds' harp and other things
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oops it was not the good link
http://ingallian.design.uqam.ca/gestatio/index.html


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Hi 
I post this mail for three reasons :
1 - I wanted to share my tracks
    http://mapage.noos.fr/verchonfourgu
    only one now but other soon
2 - I'll be in London from the 20th february to the 5 march...
    if you've got plans for concerts, exhibitions, etc that should be great
3 - http://ingallian.design.uqam.ca/ateliers-u/
      website of a canadian "laboratory" which works on the links between artificial intelligence, music, architecture...