[microsound] micro directional speakers

From Michael Wright
Sent Fri, Apr 1st 2005, 01:36

http://www.guardian.co.uk/life/feature/story/0,13026,1448147,00.html


Please, will someone make creative use of this before U2?!!


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Achrid mp3's available at

www.achrid.com


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From ???@??? Fri Apr  1 00:34:30 2005
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From: michael hohendorf <xxxxxxx@xxxxxxxxxxxxxx.xx>
Subject: [microsound] Phthalocyanine in Germany !!!
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Last minute tour announcement!

PHTHALOCYANINE (los angeles)
-planet mu, phthalo, a-musik...

&

GAUMEN (bremen)
-esel records

01.04. Cologne - Kulturbunker Muehlheim
02.04. Berlin - Zentrale Randlage
03.04. Hamburg - Golden Pudel Club

see you there!


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From ???@??? Fri Apr  1 00:26:45 2005
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Date: Thu, 31 Mar 2005 16:26:32 -0800
From: Bill Jarboe <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] emu e64 vs e6400
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On Mar 31, 2005, at 3:58 PM, Nick S wrote:

> its my understanding they all do synthesis, from what ive gathered so 
> far
> the main difference is the cpu and os.
>
> sorry if this is OT here...i thought it was on-topic...i wouldve 
> posted to
> AH, but its definately OT there.

  -might be considered o.t. since this isn't really a gear forum.

   i don't consider it o.t. since we're dealing with micro architecture 
making large sounds.
>
> ----- Original Message -----
> From: "Bill Jarboe" <xxxxxxxxxx@xxxxxxxxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Thursday, March 31, 2005 5:59 PM
> Subject: Re: [microsound] emu e64 vs e6400
>
>
>> On Mar 31, 2005, at 12:59 PM, Nick S wrote:
>>
>>> hi all...new to the list...anyways, quick question for the emu heads
>>> here....what are the main differences between the e64 and e6400
>>> samplers?
>>>
>>> ive been looking to get an emu for awhile, and now, it seems the 
>>> price
>>> is finally right for me.
>>
>>
>>   i'm not absolutely sure , though i've thought of using the e6400
>> myself. in the e6400 one is able to delve into synthesis , even to the
>> point of recreating an approximation of the old emu modular systems .
>> remember animotion's 'obsession' ? propoganda's 'machinery'?
>>
>>
>>             -hope this is a bit of help, o.t. as it might be
>>
>>
>>                                                                 Bill
>>>
>>
>>


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From ???@??? Fri Apr  1 00:15:04 2005
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Subject: [microsound] [OT] Badio talk, NYC - simultaneous live webcast
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Hey all,

(I just now sent attempted to send this to the
microsound annoucements list but got a failure to
deliver bounce back) 

FYI:


The August Sound Coalition will be broadcasting on the
web, live:  

Alain Badiou's talk at Deitch Projects, Friday April
1, 7PM EST.

Info on where on the web to listen-in will be sent out
to you tomorrow afternoon.
 
-A

*************


August Sound Coalition
http://radio.socialtechnology.net












                
__________________________________ 
Do you Yahoo!? 
Yahoo! Small Business - Try our new resources site!
http://smallbusiness.yahoo.com/resources/ 

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From ???@??? Fri Apr  1 00:00:15 2005
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Date: Thu, 31 Mar 2005 18:58:24 -0500
From: Nick S <xxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] emu e64 vs e6400
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 FILETIME=[C5545FF0:01C5364D]

its my understanding they all do synthesis, from what ive gathered so far
the main difference is the cpu and os.

sorry if this is OT here...i thought it was on-topic...i wouldve posted to
AH, but its definately OT there.

----- Original Message -----
From: "Bill Jarboe" <xxxxxxxxxx@xxxxxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Thursday, March 31, 2005 5:59 PM
Subject: Re: [microsound] emu e64 vs e6400


> On Mar 31, 2005, at 12:59 PM, Nick S wrote:
>
> > hi all...new to the list...anyways, quick question for the emu heads
> > here....what are the main differences between the e64 and e6400
> > samplers?
> >
> > ive been looking to get an emu for awhile, and now, it seems the price
> > is finally right for me.
>
>
>   i'm not absolutely sure , though i've thought of using the e6400
> myself. in the e6400 one is able to delve into synthesis , even to the
> point of recreating an approximation of the old emu modular systems .
> remember animotion's 'obsession' ? propoganda's 'machinery'?
>
>
>             -hope this is a bit of help, o.t. as it might be
>
>
>                                                                 Bill
> >
>
>
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>
>

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From ???@??? Thu Mar 31 22:59:46 2005
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On Mar 31, 2005, at 12:59 PM, Nick S wrote:

> hi all...new to the list...anyways, quick question for the emu heads 
> here....what are the main differences between the e64 and e6400 
> samplers?
>
> ive been looking to get an emu for awhile, and now, it seems the price 
> is finally right for me.


  i'm not absolutely sure , though i've thought of using the e6400 
myself. in the e6400 one is able to delve into synthesis , even to the 
point of recreating an approximation of the old emu modular systems . 
remember animotion's 'obsession' ? propoganda's 'machinery'?


            -hope this is a bit of help, o.t. as it might be


                                                                Bill
>


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From ???@??? Thu Mar 31 22:35:46 2005
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Date: Thu, 31 Mar 2005 23:33:40 +0100
From: douglas benford <xxxxxxx@xxxxx.xxxxx.xx.xx>
Subject: [microsound] RADIO TAXI works
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Fwded: dont reply to me! thanks ;-)
use email contact below...
douglas benford

RADIO TAXI

Kirsten Lavers, cris cheek, (TNWK) and Simon Keep invite sound 
artists(including writers, poets, visual artists, musicians working 
with sound) tosubmit work for a short range FM and internet radio 
event in late May and early June

2005.BACKGROUND

RADIO TAXI  is a Taxi Gallery narrowcast and webcast initiative. Taxi 
Gallery is literally a black cab situated in a council estate on the 
outskirts of Cambridge,England. Since Sept 2001, over 25 different 
artists have made new works inresponse to the specific context 
offered by the gallery and its location. TaxiGallery is a project 
that reaches for an extended conversation with local, nationaland 
international audiences (via its website) in response to a broad 
range of challenging contemporary artworks, approaches and ideas.For 
more info on Taxi Gallery - please visit www.taxigallery.org.uk

The translocal or "glocal" philosophy of Taxi Gallery is reflected in 
the forthcoming RADIO TAXI project which will integrate a 3 mile 
radius analogueFM broadcast with a worldwide digital transmission via 
a server capable ofhandling multiple streams.RADIO TAXI will be a 
live(ly) mix of locally originated programmes and interventions 
(significant community involvement by neighbourhood residents ofall 
ages will be developed, including several major projects with 
ColeridgeSecondary School and an evolving radio club), a curated 
programme of invitedsound works and a schedule of sonic art from all 
over the world. The Radio Taxi webcast will be technically supported 
by Liam Wells (NorwichSchool of Art and Design) of n0media.

Transmission dates:

6pm 27 May -  6am 31 May  (GMT)& 6pm 3 June - Midnight 5 June 
(selected highlights)

The selected highlights will remain archived on the Taxi Gallery 
website for theforeseeable future. An audio CD selection will also be 
included in a forthcomingfull colour Taxi Gallery publication.

SUBMISSION DETAILSTHERE ARE THREE WAYS TO TAKE PART IN RADIO TAXI:

1.  A 1hour (unedited, raw) field sound recording made at night 
(anytimebetween dusk and dawn) from a specific location anywhere in 
the world.Please include exact details of the location, date and time 
of the recording.

2.  A recording made for the duration of a taxi journey (see Jan 
Cain's 'Ride'in the Taxi Gallery web archive). Please include details 
of the journeyincluding departure and arrival destinations and 
reasons for the journey.These recordings will be played during the 
overnight programme during the broadcast period - a programme 
inspired by Jim Jarmusch's film 'Night OnEarth'. All submitted 
recordings will be fully credited on the website.

3. Contribute to the curated programme by submitting new or existing 
soundworks that in some way address at least  one or more of the 
followingthemes:

NeighbourhoodThe CommonsEverydayLocation Transition   Conversation 
Collection Transmission

No other limits and we're also happy to receive proposals/ideas for 
works to becarried out on site or via live - streaming. Submissions 
should be sent (preferably in audio CD format - please get in touch 
if this is a problem) withdetails, credit info and weblinks to:

38 Stanesfield Rd, Cambridge, CB5 8NH England. Queries to: 
xxxx@xxxxxxxxx.xxx.xx

Submission Deadline: 1 May 2005 latest - though we'd encourage 
earlysubmissions.

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From ???@??? Thu Mar 31 21:01:29 2005
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hi all...new to the list...anyways, quick question for the emu heads here....what are the main differences between the e64 and e6400 samplers?

ive been looking to get an emu for awhile, and now, it seems the price is finally right for me.


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From ???@??? Thu Mar 31 13:33:13 2005
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From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] Contents Onda Sonora 30/03/05
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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
·Listen live real time -www.ondasonoraradio.com
_________________________________

CONTENIDOS ONDA SONORA 30/03/05

01. HAIR POLICE
Track: The Hills Have Eyes
Album: Hair Police & Dead Machines - Split LP
Label: Gods of Tundra & American Tapes

Trabajo compartido por dos bandas de noise del entorno de Michigan, Hair Police y Dead Machines, grabado con motivo de la última gira conjunta de ambas. "The Hills Have Eyes" es la cara de Hair Police, combo formado por Robert Beatty, Trevor Tremaine y Mike Connelly

Split work by two noise bands from the Michigan area, Hair Police and Dead Machines, recorded for their last combined tour. "The Hills Have Eyes" is Hair Police's side, a combo formed by Robert Beatty, Trevor Tremaine and Mike Connelly

02. ERIC BOLLMAN
Track: 3
Album: Untitled
Label: Fat Cat 

Eric Bollman es músico, artista visual y diseñador residente en Nueva York, cuya obra parte de grabaciones de campo, sobre las que trabaja composiciones ambientales como esta, incluída en un disco sin título, y que recientemente ha editado el sello británico Fat Cat en la sección dedicada a demos recibidas en su página web

Eric Bollman is a musician, visual artist and designer residing in New York, whose work departs from field recordings, over which he works environmental compositions like this, included in an untitled album, that has recently been published on the British label Fat Cat in its demo section.

03. MINAMO
Track: We Were
Album: Shining
Label: 12k

El cuarteto japonés Minamo, con su quinto trabajo hasta la fecha, repleto como siempre de atmósferas vagas y evasivas, en esta ocasión con un acercamiento mucho más agresivo entre el post-rock, la improvisación y la electrónica digital Este es su debut en el sello norteamericano 12K dirigido por Taylor Deupree

The Japanese quartet Minamo, with their fifth work so far, replete as always of evasive atmospheres, in this occasion with a much more aggressive approach between post-rock, improvisation and digital electronics. This is their debut on the North American label 12K, directed by Taylor Deupree

04. KOJI ASANO
Track: Sanctuary On Reclaimed Land
Album: Sanctuary On Reclaimed Land
Label: Solstice 

Koji Asano es un joven artista japonés que ha residido en ciudades como Londres, Tokyo y Barcelona, hasta hace poco. Se trata de un imaginativo y prolífico compositor electroacústico con más de 30 referencias en sólo una década de producción, sobre todo para cd pero también para teatro, cine, u ocasiones como ésta, la muestra Sound Art Lab, celebrada en Osaka en Junio del año pasado, utilizando ordenador portátil y una variada gama de instrumentos que se transforman constantemente en algo nuevo

Koji Asano is a young japanese artist that has resided in cities like London, Tokyo and Barcelona (til recently). He is an imaginative and fruitful electroacoustic composer with more than 30 references in only a decade of production, mainly for cd but also for theater, cinema, or, like this, for the Sound Art Lab exhibition, held in Osaka in June 2004, using laptop and a varied range of instruments that are constantly transforming into something new

05. CAMPING
Track: 3 Republica
Album: Dancing Days
Label: Astro 

Corte que cierra "Dancing Days", el nuevo disco del quinteto catalán Camping tras su debut del año pasado "Photo Finish", caminando hacia terrenos cada vez más experimentales investigando en el ambiente. Un trabajo para el sello Astro que cuenta con la colaboración, entre otros, del afamado productor norteamericano Scott Herren, Prefuse 73

Last track of "Dancing Days", the new record by the Catalan quintet Camping, after their last year's debut "Photo Finish", walking towards more experimental lands, investigating in the atmospheres. A work for the Astro label that counts with the collaboration, among others, of the famous North American producer Scott Herren, Prefuse 73

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Well, I just tried sending a test on the "micro announce" list
and my e-mail bounced...

No wonder some people are still posting announcements here. ;o)

Best, Dale
 

Dale Lloyd:  http://www.and-oar.org/dalelloyd.html
and/OAR:  http://www.and-oar.org/

NEW: Turba / Lateral Minor (Stasisfield.com) 
NEW: Volatile And Fixed Principles (leerraum)
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From ???@??? Thu Mar 31 05:35:10 2005
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I like the idea of improvising with Market St. on
backup.  I'm curious about your approach.

andrew

--- Aaron Ximm <xxxxx@xxxx.xxx> wrote:
> > > Fwiw I find "unintentional" is a distinction
> that only meaningfully
> > > adheres to human-produced sound; that it's a
> category error
> > > (irrelevant) to call weather-sound (say)
> intentional or un-.
> >
> > i was at a Phil Dadson concert (legendary NZ
> improviser/artist) last
> > night, and at one point he was making music that
> merged with noises the
> > air conditioning in the room was making, made you
> /aware/ of the sound
> > of it even. at what point does the unintentional
> become the intentional?
> 
> For me that's an easy one -- the A/C was of course
> unintentional at a
> casual level of description, but Dadson was
> intentionally integrating it
> (based on your description) into the "authorized"
> soundscape... I'm pretty
> sure I remember perceiving Richard Chartier doing
> that with the rattle of
> the HVAC at CEAIT a couple years ago, but it could
> have been "active
> perception" on my part. :)
> 
> I may have said before on the list ~ for me the
> moments I have most valued
> as a performer are *exactly* those moments when I
> can encourage things
> like this -- a breakdown between the categories of
> desired and undesired
> sound -- between those phenomena we award our
> attention to and attend to,
> and those we reject as... "noise."
> 
> Harmonizing with the 60 cycle hum in the house PA,
> always nice. Live
> miking the audience or live processing local
> environmental sound is
> something people have done numerous times at the
> Field Effets shows I've
> hosted. The Infrasound collaboration between Scott
> Arford and Randy Yau
> was memorable for the way they intentionally used
> very low frequency sound
> (not true infrasound incidentally) to "reify" the
> architecture of our
> building -- by making different loose window panes
> etc rattle and
> rustle at their various resonant frequenciees.
> 
> For me some of my best moments have happened
> presenting work at the
> Luggage Store here in SF, which is perched above a
> noisy section of
> "sketchy" Market Street -- the whistles,
> above-ground rail, subway, crazy
> people, pimps, sirens, etc. inevitably integrate
> into whatever I'm doing
> and several times I've been able to blend the
> boundaries enough to provoke
> people to talk with me about afterwards.
> 
> If someone momentarily forgets what they're
> "supposed" to be listening to
> and hears everything in their environment naively...
> I consider my work
> done. :)
> 
>  best,
>   aaron
> 
>   xxxxx@xxxx.xxx
>   http://www.quietamerican.org
> 
>   |  quod omne animal post   |
>   |  cogitum est triste...   |
> 
> 
>
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> 
> 

Andrew Benson
www.cloud-machine.com


                
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From ???@??? Thu Mar 31 02:02:38 2005
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> > Fwiw I find "unintentional" is a distinction that only meaningfully
> > adheres to human-produced sound; that it's a category error
> > (irrelevant) to call weather-sound (say) intentional or un-.
>
> i was at a Phil Dadson concert (legendary NZ improviser/artist) last
> night, and at one point he was making music that merged with noises the
> air conditioning in the room was making, made you /aware/ of the sound
> of it even. at what point does the unintentional become the intentional?

For me that's an easy one -- the A/C was of course unintentional at a
casual level of description, but Dadson was intentionally integrating it
(based on your description) into the "authorized" soundscape... I'm pretty
sure I remember perceiving Richard Chartier doing that with the rattle of
the HVAC at CEAIT a couple years ago, but it could have been "active
perception" on my part. :)

I may have said before on the list ~ for me the moments I have most valued
as a performer are *exactly* those moments when I can encourage things
like this -- a breakdown between the categories of desired and undesired
sound -- between those phenomena we award our attention to and attend to,
and those we reject as... "noise."

Harmonizing with the 60 cycle hum in the house PA, always nice. Live
miking the audience or live processing local environmental sound is
something people have done numerous times at the Field Effets shows I've
hosted. The Infrasound collaboration between Scott Arford and Randy Yau
was memorable for the way they intentionally used very low frequency sound
(not true infrasound incidentally) to "reify" the architecture of our
building -- by making different loose window panes etc rattle and
rustle at their various resonant frequenciees.

For me some of my best moments have happened presenting work at the
Luggage Store here in SF, which is perched above a noisy section of
"sketchy" Market Street -- the whistles, above-ground rail, subway, crazy
people, pimps, sirens, etc. inevitably integrate into whatever I'm doing
and several times I've been able to blend the boundaries enough to provoke
people to talk with me about afterwards.

If someone momentarily forgets what they're "supposed" to be listening to
and hears everything in their environment naively... I consider my work
done. :)

 best,
  aaron

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

  |  quod omne animal post   |
  |  cogitum est triste...   |


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APRIL 1st 2005 Noise Factory Records will be holding another
one of its  artist showcase series at the Casa Del Popolo. This time around Noise Factory
presents label artist NAW  performing live along side 2 of his favorite
local Montreal electronic music making collectives; Le-son666's very own
INTERCOM and Panospria's ARGON FLOOZY.
The night will be a FREE no frills but all thrills type of evening and
promisses to feature all new material by these 3 local montreal electronic music talents.
so make sure to come out and get your chin scratching, head bobbing,
body moving, feet shuffeling thing on FRIDAY APRIL 1 2005 at the Casa Del
Popolo 4873 St-Laurent, show time is 9pm.

------------------------------------------------------------------------------------------------------------
FRIDAY APRIL 1st 2005

Noise Factory Records brings you another night of free live music

featuring live performances by:

NAW - gearing up for yet another new release this time on the newly
founded quebec city label pertin_nce, as well as an up comming appearence
at this years SONAR festival in barcelona spain, NAW will once again
showcase his own personal
take on post electronic dance music featureing all new never heard befor
material, so get ready to have your dancing feet on and your head ready
for some bobbing as you never really know what to expect from a live set
by this artist.

also appearing on this special night will be 2 of naws personal favorite
local artists:

INTERCOM - le-son666's very onw electronic trio will showcase new
digital beats and crunchy noises, dancing or trying-to-dance is recommended.

ARGON FLOOZY - panospria's newset sextet project will
construct and manipulate a sonic whirlpool of moody music and dense
soundscapes with their unusual instruments and strange techniques.

and rounding out the nigths entertainment will be last minute special
guest mp3 dj selector DJ NAWPOD
NAWPOD will be helping to keep the party going before, after and in
between the live musical acts for the evening with various selections from
canadian indie mp3 netlabels.

when:
FRIDAY APRIL 1 2005
where:
CASA DEL POPOLO,
4873 St-Laurent
time: 9pm
how much:  FREE

for more info visit: http://www.noisefactoryrecords.com
contact xxx@xxxxxxxxxxxxxxxxxxx.xxx  or xxx@xxxxxx.xxx
------------------------------------------------------------------------------------------------------------


BIOS/INFO

NOISE FACTORY RECORDS
http://www.noisefactoryrecords.com
Taken from various interviews with Joe English, Noise Factory Records the
man behind the label:  "All roads lead back to Joy Division. They were the
most influential band during my teen years. From that point, everything
else fell into place. At one point I was so into electronic industrial
music that I began adopting the anti-guitar philosophy of Test Department.
That didnt last long. The next major influence came with David Sylvians
Secrets of the Beehive. I suppose these two musical styles represent the
scope of what would become Noise Factory Records. As for the Noise
Factory, it began as a college radio show on CHRY during the early 90s.
The show played mainly industrial, electronic and ambient music. We had a
couple of parties under the Noise Factory moniker, but once we graduated
university it all kind of ended. Life began to play its cruel little game.
I got a job at IBM and hated every day. So I started the label in 1996. I
knew nothing about running a label, and I had no contacts but I had a good
friend that was in a band, and wanted to put out an album. It made sense
at the time and it still makes sense."
"The Noise Factory is not made up of musicians or former record
executives. The Noise Factory came into existence out of a need and desire
for something new. We truly believe the music we represent is some of the
most wonderful and beautiful music currently being made. Unlike many indie
labels we offer a different viewpoint, one of the music lover and
consumer."

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 clevermusic, pertin_nce, and his
follow up full length to his 2002 noise factory release called green
nights orange days. naw has recently returned from tours in france,
germany, and canada. to co-enside with his recent releases on noise
factory and clevermusic and plans to return to europe this summer for more
tours including a performance at the now legendary sonar festival in
barcelona, spain. naw is currently preparing a new release titled terrain
vague for the pertin_nce label out of quebec city due for release in early
April 2005.

INTERCOM
http://www.le-son666.com/intercom

The electronic trio intercom will showcase new digital beats and
crunchy noises (some of it could appear on their upcoming full-lenght)
along with radical reworkings of their first self-titled cd.
Dancing/trying-to-dance is recommended. And be warned: any boring
chin-strokers will be shot on sight. Okay?


Argon Floozy
http://www.panospria.com/

A local sextet mostly comprised of members from the Panospria collective,
Argon Floozy is their latest group project since Kokoro No Jojishi in
2003. On this evening they will construct and manipulate a sonic whirlpool
of moody music and dense soundscapes with their
unusual instruments and strange techniques.


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From ???@??? Wed Mar 30 21:43:30 2005
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From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: Re: [microsound] Unintentional sound
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> I think maybe the word unintentional is an improper choice in this
> context.  He seems to be intentionally recording a sound that is a sonic
> feature of a given location.  Granted, he is not staging the sound, or
> manipulating the drain, etc.  But to call any sound that is recorded
> with such care and precision unintentional is misleading.  Perhaps a
> word like "field recording" or "non-instrumental" or "incidental" might
> be more appropriate.

To clarify: in the original context I was refering to "unintentional
sounds" as the *subject* of my phonography ("aesthetically motivated field
recording" is how I usually gloss phonography, not my coinage of course;
"philosophically" or "conceptually" or "politically" etc might work as
well). Not the result (recording).

I.e. it's not my *recording* which is unintentional (just as you say).
Though my wife might say it's become reflexive and unconsidered (on a bad
day) ;).

I was offering this recording as an example which documents the kinds of
sounds I find are the focus of my field recording practice: compelling but
unintentional ones (or: conjunctions and serendipities and soundscapes).
Unintentional on the part of any agent in the sound's creation.
Unintentional in the brute lay sense of conscious/design decision.

The fact that this is a distinctive "feature" (soundmark) of the
space/time it's located in is precisely why I find it interesting and why
I recorded it. :)

Fwiw I find "unintentional" is a distinction that only meaningfully
adheres to human-produced sound; that it's a category error (irrelevant)
to call weather-sound (say) intentional or un-. On the other hand there's
something interesting when you extend this distinction to the sounds of
life, especially along the boundary conditions -- e.g. the yeast cells
which vibrate in the human-audible frequency range -- but that's just
becase we have complicated ideas about non-human (living) agency. Do frogs
intend to attract mates or mark their territory?

But then again... do I? :)

 best,
  aaron

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

  |  quod omne animal post   |
  |  cogitum est triste...   |


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From ???@??? Wed Mar 30 20:32:32 2005
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Date: Wed, 30 Mar 2005 22:30:23 +0200
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] collaborate?
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xxx@xxxxxx.xx wrote:
> High,
> 
> I am looking for collaborators in the vacinity of  Hamburg, Germany. I 
> am a bass player interested in recording/performing with musicians who 
> code and improvise with software (like Super Collider, Max/MSP and 
> Reaktor).  For those of you not familiar with me or my work, i am 
> primarily an improvisor with electric upright bass (as opposed to a 
> laptop) as my instrument. I explore drone based structures. For a more 
> concrete idea of what i do, check out my latest release "Exquisite 
> Noise" here: http://cdbaby.com/jairrohmpw. I am in Hamurg an average of 
> four days a month and would like to use the opportunity to make new 
> music with new people.
> 
> Thanks,
> 
> Jair-Rohm Parker Wells
> 
Hello,

I am mediartist, programmer and musician from Hamburg, contact me on or 
offlist to get more info about local possibilities like Heiner Metzgers 
Impro Group, the Hörbar venue and myself...

Cheers,

Malte


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

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

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From: Kyle Klipowicz <xxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Unintentional sound
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> the one that springs to mind is an audible fart in a public place causing
> embarrassment/shame to the originator

Hah!  Oh man, I must be an unintentional noise artist then.

~Kyle

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From ???@??? Wed Mar 30 20:17:11 2005
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I think maybe the word unintentional is an improper
choice in this context.  He seems to be intentionally
recording a sound that is a sonic feature of a given
location.  Granted, he is not staging the sound, or
manipulating the drain, etc.  But to call any sound
that is recorded with such care and precision
unintentional is misleading.  Perhaps a word like
"field recording" or "non-instrumental" or
"incidental" might be more appropriate.

just my two cents,
andrew
--- "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx> wrote:

> it should be a sound that is made but is not
> intended
> 
> 'intended' implies a subjective decision that no
> sound should be emitted by 
> design
> 
> so an unintended sound would be a sound that has
> leaked out due to a 
> fault/oversight of a designed system or system which
> retained in  a state of 
> control by a 'thinking' entity....
> 
> the one that springs to mind is an audible fart in a
> public place causing 
> embarrassment/shame to the originator
> ----- Original Message ----- 
> From: "andrew benson" <xxxxxxxxxxxxxx@xxxxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Wednesday, March 30, 2005 9:00 PM
> Subject: Re: [microsound] Unintentional sound
> 
> 
> > Sounds pretty intentional to me.  Am I missing
> > something?
> >
> > andrew
> > --- Aaron Ximm <xxxxx@xxxx.xxx> wrote:
> >> Earlier this month I wrote:
> >>
> >> > A logical conclusion from the premise of
> >> phonography ("unintentional
> >> > sound is worth listening to") is that the goal
> is
> >> not so much to share
> >> > specific recordings, but to cultivate and
> >> inculcate a particular kind of
> >> > intentional listening (ie attention) both as a
> >> practioner and in the
> >> > "audience."
> >>
> >> Kim asked me what I meant by "unintentional
> sound";
> >> this weekend I
> >> happened to record what I consider to be a
> perfect
> >> example; I just
> >> put up an excerpt on my site here:
> >>
> >>
> >>
> >
>
http://www.quietamerican.org/download/dropbox/Harbin/
> >>
> >> The sound in question was the continual chaotic
> (in
> >> both a technical and
> >> visceral sense) burbling of a swimming pool drain
> at
> >> some developed
> >> hotsprings near Calistoga.
> >>
> >> The two recordings "Harbin Hotsprings Pool..."
> are
> >> the drain. It was at
> >> water level and was making variations on this
> >> variously musical and static
> >> burble for the three days we were there. I
> recorded
> >> it for about an hour
> >> total and was interrupted by security only twice.
> :)
> >>
> >> As labeled, one was recorded with my head-mounted
> >> Sonic Studios DSM-6S/EH
> >> mics, and the other was my first try with a new
> >> Aquarian H2 hydrophone
> >> (not simultaneous recordings sadly).
> >>
> >> The generator off to stage left also provides the
> >> resonant hum in the
> >> hydrophone recording I believe. A good argument
> for
> >> a directional mic!
> >>
> >> Btw the other two files in that directory were
> frogs
> >> recorded a quarter
> >> mile away -- one (as labeled) that I took a 30
> >> second stab at "cleaing up"
> >> to remove the gray noise of a stream a few
> hundred
> >> feet away and some mic
> >> hiss...
> >>
> >>  best,
> >>   aaron
> >>
> >>   xxxxx@xxxx.xxx
> >>   http://www.quietamerican.org
> >>
> >>   |  quod omne animal post   |
> >>   |  cogitum est triste...   |
> >>
> >>
> >>
> >
>
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> >> website: http://www.microsound.org
> >>
> >>
> >
> > Andrew Benson
> > www.cloud-machine.com
> >
> >
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! Sports - Sign up for Fantasy Baseball.
> > http://baseball.fantasysports.yahoo.com/
> >
> >
>
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> >
> >
> >
> > 
> 
> 
>
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From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] Unintentional sound
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it should be a sound that is made but is not intended

'intended' implies a subjective decision that no sound should be emitted by 
design

so an unintended sound would be a sound that has leaked out due to a 
fault/oversight of a designed system or system which retained in  a state of 
control by a 'thinking' entity....

the one that springs to mind is an audible fart in a public place causing 
embarrassment/shame to the originator
----- Original Message ----- 
From: "andrew benson" <xxxxxxxxxxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Wednesday, March 30, 2005 9:00 PM
Subject: Re: [microsound] Unintentional sound


> Sounds pretty intentional to me.  Am I missing
> something?
>
> andrew
> --- Aaron Ximm <xxxxx@xxxx.xxx> wrote:
>> Earlier this month I wrote:
>>
>> > A logical conclusion from the premise of
>> phonography ("unintentional
>> > sound is worth listening to") is that the goal is
>> not so much to share
>> > specific recordings, but to cultivate and
>> inculcate a particular kind of
>> > intentional listening (ie attention) both as a
>> practioner and in the
>> > "audience."
>>
>> Kim asked me what I meant by "unintentional sound";
>> this weekend I
>> happened to record what I consider to be a perfect
>> example; I just
>> put up an excerpt on my site here:
>>
>>
>>
> http://www.quietamerican.org/download/dropbox/Harbin/
>>
>> The sound in question was the continual chaotic (in
>> both a technical and
>> visceral sense) burbling of a swimming pool drain at
>> some developed
>> hotsprings near Calistoga.
>>
>> The two recordings "Harbin Hotsprings Pool..." are
>> the drain. It was at
>> water level and was making variations on this
>> variously musical and static
>> burble for the three days we were there. I recorded
>> it for about an hour
>> total and was interrupted by security only twice. :)
>>
>> As labeled, one was recorded with my head-mounted
>> Sonic Studios DSM-6S/EH
>> mics, and the other was my first try with a new
>> Aquarian H2 hydrophone
>> (not simultaneous recordings sadly).
>>
>> The generator off to stage left also provides the
>> resonant hum in the
>> hydrophone recording I believe. A good argument for
>> a directional mic!
>>
>> Btw the other two files in that directory were frogs
>> recorded a quarter
>> mile away -- one (as labeled) that I took a 30
>> second stab at "cleaing up"
>> to remove the gray noise of a stream a few hundred
>> feet away and some mic
>> hiss...
>>
>>  best,
>>   aaron
>>
>>   xxxxx@xxxx.xxx
>>   http://www.quietamerican.org
>>
>>   |  quod omne animal post   |
>>   |  cogitum est triste...   |
>>
>>
>>
> ---------------------------------------------------------------------
>> To unsubscribe, e-mail:
>> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail:
>> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
>
> Andrew Benson
> www.cloud-machine.com
>
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! Sports - Sign up for Fantasy Baseball.
> http://baseball.fantasysports.yahoo.com/
>
> ---------------------------------------------------------------------
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> website: http://www.microsound.org
>
>
>
> 


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From ???@??? Wed Mar 30 20:00:42 2005
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Sounds pretty intentional to me.  Am I missing
something?

andrew
--- Aaron Ximm <xxxxx@xxxx.xxx> wrote:
> Earlier this month I wrote:
> 
> > A logical conclusion from the premise of
> phonography ("unintentional
> > sound is worth listening to") is that the goal is
> not so much to share
> > specific recordings, but to cultivate and
> inculcate a particular kind of
> > intentional listening (ie attention) both as a
> practioner and in the
> > "audience."
> 
> Kim asked me what I meant by "unintentional sound";
> this weekend I
> happened to record what I consider to be a perfect
> example; I just
> put up an excerpt on my site here:
> 
>  
>
http://www.quietamerican.org/download/dropbox/Harbin/
> 
> The sound in question was the continual chaotic (in
> both a technical and
> visceral sense) burbling of a swimming pool drain at
> some developed
> hotsprings near Calistoga.
> 
> The two recordings "Harbin Hotsprings Pool..." are
> the drain. It was at
> water level and was making variations on this
> variously musical and static
> burble for the three days we were there. I recorded
> it for about an hour
> total and was interrupted by security only twice. :)
> 
> As labeled, one was recorded with my head-mounted
> Sonic Studios DSM-6S/EH
> mics, and the other was my first try with a new
> Aquarian H2 hydrophone
> (not simultaneous recordings sadly).
> 
> The generator off to stage left also provides the
> resonant hum in the
> hydrophone recording I believe. A good argument for
> a directional mic!
> 
> Btw the other two files in that directory were frogs
> recorded a quarter
> mile away -- one (as labeled) that I took a 30
> second stab at "cleaing up"
> to remove the gray noise of a stream a few hundred
> feet away and some mic
> hiss...
> 
>  best,
>   aaron
> 
>   xxxxx@xxxx.xxx
>   http://www.quietamerican.org
> 
>   |  quod omne animal post   |
>   |  cogitum est triste...   |
> 
> 
>
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> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 
> 

Andrew Benson
www.cloud-machine.com


                
__________________________________ 
Do you Yahoo!? 
Yahoo! Sports - Sign up for Fantasy Baseball. 
http://baseball.fantasysports.yahoo.com/

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From ???@??? Wed Mar 30 11:50:16 2005
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From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: [microsound] Unintentional sound
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Earlier this month I wrote:

> A logical conclusion from the premise of phonography ("unintentional
> sound is worth listening to") is that the goal is not so much to share
> specific recordings, but to cultivate and inculcate a particular kind of
> intentional listening (ie attention) both as a practioner and in the
> "audience."

Kim asked me what I meant by "unintentional sound"; this weekend I
happened to record what I consider to be a perfect example; I just
put up an excerpt on my site here:

  http://www.quietamerican.org/download/dropbox/Harbin/

The sound in question was the continual chaotic (in both a technical and
visceral sense) burbling of a swimming pool drain at some developed
hotsprings near Calistoga.

The two recordings "Harbin Hotsprings Pool..." are the drain. It was at
water level and was making variations on this variously musical and static
burble for the three days we were there. I recorded it for about an hour
total and was interrupted by security only twice. :)

As labeled, one was recorded with my head-mounted Sonic Studios DSM-6S/EH
mics, and the other was my first try with a new Aquarian H2 hydrophone
(not simultaneous recordings sadly).

The generator off to stage left also provides the resonant hum in the
hydrophone recording I believe. A good argument for a directional mic!

Btw the other two files in that directory were frogs recorded a quarter
mile away -- one (as labeled) that I took a 30 second stab at "cleaing up"
to remove the gray noise of a stream a few hundred feet away and some mic
hiss...

 best,
  aaron

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

  |  quod omne animal post   |
  |  cogitum est triste...   |


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From ???@??? Wed Mar 30 10:17:24 2005
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Date: Wed, 30 Mar 2005 12:17:18 +0200
From: xxx@xxxxxx.xx
Subject: [microsound] collaborate?
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High,

I am looking for collaborators in the vacinity of  Hamburg, Germany. I 
am a bass player interested in recording/performing with musicians who 
code and improvise with software (like Super Collider, Max/MSP and 
Reaktor).  For those of you not familiar with me or my work, i am 
primarily an improvisor with electric upright bass (as opposed to a 
laptop) as my instrument. I explore drone based structures. For a more 
concrete idea of what i do, check out my latest release "Exquisite 
Noise" here: http://cdbaby.com/jairrohmpw. I am in Hamurg an average of 
four days a month and would like to use the opportunity to make new 
music with new people.

Thanks,

Jair-Rohm Parker Wells


"Dedicated to the pursuit of excellence"
Glass Thought Communications
Tel. +46 768 700976
http://members.chello.se/gtc/index.htm


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From ???@??? Wed Mar 30 04:58:03 2005
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     foxglove060: robert horton "angel humming through wire" cd-r
      $7 PPD (order) limited to 100 copies
      hail to the summer breeze! the debut of robert horton is a cause for celebration. years in the making, "angel humming through wire" is a glorious look at this boston (now on the west coast) native's washed out headspace. organic compositions of love and loss that occupy similar space as thuja or birchville cat motel. in this land of giants, horton bends and distorts acoustic instruments into various shapes, producing sounds never before heard. in his travels, he has collaborated with the likes of tom carter, michael shannon, and daniel raffel, but this voice is solely his own. "angel humming through wire" is an exorcising experience; it is the search for that which the earth has sacrificied. 

      http://www.digitalisindustries.com/foxglove.html

      and free mp3s from another project. The Attemptations
      www.hoalrecords.com
     
--Mailsmith-01D6D380-D218-11D9-ABC8-000D932C0D78
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</HEAD>
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<DIV>
<TABLE height=6378 width="80%" border=0>
  <TBODY>
  <TR>
    <TD vAlign=top><FONT face=Arial size=2><IMG height=75 
      src="http://www.digitalisindustries.com/images/rhorton-angel.jpg" 
      width=75><BR></FONT></TD>
    <TD vAlign=top align=left>
      <DIV><FONT face=Arial size=2>foxglove060: robert horton "angel humming 
      through wire" cd-r<BR>$7 PPD (</FONT><A 
      href="http://www.digitalisindustries.com/catalog.html"><FONT face=Arial 
      size=2>order</FONT></A><FONT face=Arial size=2>) limited to 100 
      copies<BR>hail to the summer breeze! the debut of robert horton is a cause 
      for celebration. years in the making, "angel humming through wire" is a 
      glorious look at this boston (now on the west coast) native's washed out 
      headspace. organic compositions of love and loss that occupy similar space 
      as thuja or birchville cat motel. in this land of giants, horton bends and 
      distorts acoustic instruments into various shapes, producing sounds never 
      before heard. in his travels, he has collaborated with the likes of tom 
      carter, michael shannon, and daniel raffel, but this voice is solely his 
      own. "angel humming through wire" is an exorcising experience; it is the 
      search for that which the earth has sacrificied. </FONT></DIV>
      <DIV><FONT face=Arial size=2></FONT> </DIV>
      <DIV><FONT face=Arial size=2><A 
      href="http://www.digitalisindustries.com/foxglove.html">http://www.digitalisindustries.com/foxglove.html</A></FONT></DIV>
      <DIV><FONT face=Arial size=2></FONT> </DIV>
      <DIV><FONT face=Arial size=2>and free mp3s from another project. The 
      Attemptations</FONT></DIV>
      <DIV><FONT face=Arial size=2><A 
      href="http://www.hoalrecords.com">www.hoalrecords.com</A></FONT></DIV>
      <DIV> </DIV></TD></TR></TBODY></TABLE></DIV></BODY></HTML>
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Two Melbourne events to take note of this week

THURSDAY 31st of March

Curse ov dialect
Liones
Barrage
DJ Bacon
Dubwise
& bP

play First floor doors open 9pm until v.late
$6
____________________

SUNDAY 3rd of April

Steve Law vs Stephen Richards
Ai Yamamoto
Paul Abad (Bris) vs Jean P00le
John Aslanidis
EZ Flux 
& bP 

play Loop doors open 7pm until 1am
23 Meyers Place Melb CBD
$5


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+++++

hi folks - this will be the last framework playlist posted to the microsound discussion list.  if you'd like to keep receiving them, please either subscribe to the new microsound-announce list (http://microsound.nexthop.net/mailman/listinfo/microsound-announce), or write to me directly to be added to my private mailing list.  thanks for your time!

patrick

+++++



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


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: 08.04.05
~ 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

an extensive look at the new touch records release by jacob kirkegaard this week, which is a collection of 'geothermal recordings of vibrations in the ground around the area of krisuvik, geysir and myvatin in iceland.' kirkegaard goes on to explain that 'the recordings have been carried out using accelerometers inserted in to the earth at various places around the geysers, mapping the volcanic aspects of volcanic activity at the surface of the earth.'  a fascinating listen...

we also heard new works by mnortham, cria cuervos, xabier erkizia, hitoshi kojo, and a documentation of pauline oliveros' nyc ringout demonstration (consisting of a score for mass public bell-ringing), as recorded by ben owen.

and congrats to john exby, of littleton, colorado, usa, who won the copy of the split mnortham/tbc/brume cd that we gave away in our last regular show.  we're building up a little stack of giveaways, so tune in if you'd like to snag one.  and if your sending material in, consider sending 2 copies if you'd like to host a giveaway - as obviously it'll be so good that if you only send one i'll have to keep it!  ; )  

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

 

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



11.03.05

this edition will be rebroadcast this wednesday, 30.03.05, at 11:00am gmt 

(artist  /  title  /  album  /  label)

felicity ford  /  framework intro
a watery intro, featuring some washing, some whistling and even some whirring...
http://www.littlesongbox.co.uk

jacob kirkegaard  /  ala  /  eldfjall  /  touch
early rumbles make way for a shifting elemental rattle
http://www.fonik.dk, http://www.touchmusic.ork.uk

mnortham  /  track 2, track 3  /  oreads  /  -
self-released cdr of reworkings of sounds created for 'belle confusion 0247' with francisco lopez
http://preg.org/~mnortham

ben owen  /  edit 1  /  ringout observance nyc 082704  /  -
documentation of pauline oliveros ringout demo - see the website below for more info
ringout: http://www.ringout.org, ben owen: xxxx@xxxxxxxxxx.xxx

jacob kirkegaard  /  gaea  /  eldfjall  /  touch
quiet distant knocking, wisping flows, eventual almost animal swarming
http://www.fonik.dk, http://www.touchmusic.ork.uk

xabier erkizia  /  entresol III  /  entresol  /  antifrost
overlapping series of background statics, pure low level environmental recording
http://www.ertza.net, http://www.antifrost.gr

cria cuervos  /  track 1  /  leitfossilien  /  mystery sea
minimal whispers, organic cries, caught in the rain
http://www.criacuervos.4t.com, http://www.mysterysea.net

jacob kirkegaard  /  nerthus  /  eldfjall  /  touch
vicious windy beating - like being on the wing of an airplane
http://www.fonik.dk, http://www.touchmusic.ork.uk

hitoshi kojo  /  hiruko  /  ezo  /  optia
grating metal, creaking hinges, an icy hollow rattling
xxxx@xxxxxx.xxx

jacob kirkegaard  /  coatlicue  /  eldfjall  /  touch
deeper, engine-like rumbling; stay alert - eruptions?
http://www.fonik.dk, http://www.touchmusic.ork.uk



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



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_r+5EWCG0z8BKXAkpd+kSJA)--

From ???@??? Tue Mar 29 20:35:40 2005
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I have created a new yahoo group for people interested
in custom control interfaces, i.e. modified joysticks,
input devices, etc.

to join:
xxxxxxxxxx-xxxxxxxxx@xxxxxxxxxxx.xxx

Andrew Benson
www.cloud-machine.com


                
__________________________________ 
Do you Yahoo!? 
Make Yahoo! your home page 
http://www.yahoo.com/r/hs

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From ???@??? Tue Mar 29 19:43:52 2005
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Subject: Re: [microsound] Re: Announce List Behavior...
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Cc: john saylor <xxxxxx@xxxxx.xxx>
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john saylor wrote on 3/29/05:

>mailman [the list software] can be configured to have several
>different kinds of behavior. the settings are pretty much defaults
>now. the 'reply' preferences usually end up going into a rat hole
>[endless discussion of opinions masquerading as bald truth], but if
>the over all community would prefer a config change, i'm quite willing
>to implement it.

Not trying to make more work for you, John, but I'd think that both
lists ought to function in the same way.  I think it would keep
confusion to a minimum.

>threads are often based on the subject line. what header were you 
>looking for?

Again, I don't know much about this stuff, but I think the
"In-reply-to:", "Message-id:", and "References:" fields would be
important.  But maybe some  of these are added by the client mailer and
not the list server, however...

>Date: Sat, 26 Mar 2005 02:25:48 +0100
>From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
>Subject: Re: [microsound] ***IMPORTANT - microsound-announce***
>In-reply-to: <xxxxxxxx.xxxxxxxx@xxxxxxxxx.xx>
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Best,

Tad


<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Tue Mar 29 17:02:53 2005
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From: john saylor <xxxxxx@xxxxx.xxx>
Subject: [microsound] Re: Announce List Behavior...
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hi

On Mon, 28 Mar 2005 16:45:30 -0500, vze26m98 <xxxxxxxx@xxxxxxxxx.xxx> wrote:
> If you reply, you're replied personally to the sender and not to the
> list.

mailman [the list software] can be configured to have several
different kinds of behavior. the settings are pretty much defaults
now. the 'reply' preferences usually end up going into a rat hole
[endless discussion of opinions masquerading as bald truth], but if
the over all community would prefer a config change, i'm quite willing
to implement it.

> Also, I'm no mail list guru, but looking at the headers, it appears that
> there isn't any support for threads.

threads are often based on the subject line. what header were you looking for?

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

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hi

On Mon, 28 Mar 2005 16:45:30 -0500, vze26m98 <xxxxxxxx@xxxxxxxxx.xxx> wrote:
> If you reply, you're replied personally to the sender and not to the
> list.

mailman [the list software] can be configured to have several
different kinds of behavior. the settings are pretty much defaults
now. the 'reply' preferences usually end up going into a rat hole
[endless discussion of opinions masquerading as bald truth], but if
the over all community would prefer a config change, i'm quite willing
to implement it.

> Also, I'm no mail list guru, but looking at the headers, it appears that
> there isn't any support for threads.

threads are often based on the subject line. what header were you looking for?

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

From ???@??? Tue Mar 29 16:39:57 2005
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hi

> Matt Davignon wrote on 3/27/05: 
> >I did try to sign up for the annoucements list. It
> >sent me an email to confirm, but when I replied to
> >that email, it bounced.

On Mon, 28 Mar 2005 07:16:51 -0500, vze26m98 <xxxxxxxx@xxxxxxxxx.xxx> wrote:
> I'm getting a similar response:

sorry- i'm fixing that now. 

if you have problems with the microsound-announce list, please send them my way.

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

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// welcome to skypager //

http://www.skypager.blogspot.com/


skypager supports all platforms of bossy list
protocol.

nameless nobody fux max









                
__________________________________ 
Do you Yahoo!? 
Yahoo! Small Business - Try our new resources site!
http://smallbusiness.yahoo.com/resources/ 

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From ???@??? Tue Mar 29 04:37:42 2005
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Subject: [microsound] [ot] [news] headphone festival...
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http://news.bbc.co.uk/2/hi/entertainment/4389057.stm




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From ???@??? Tue Mar 29 03:38:37 2005
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Subject: [microsound] ignore my test, please
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vze26m98 wrote on 3/28/05:


<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Mon Mar 28 21:45:38 2005
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Subject: [microsound] Announce List Behavior...
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No, not an etiquette missive-

Thanks to Gregory Elliot, the following seems to be going on with the
announce-list:

If you reply, you're replied personally to the sender and not to the
list.  You have to "reply all" to add the list to the cc: heading.  I
know lists all have their personalities, but I tend to prefer the ones
that reply to the list primarily and only include the sender in a "reply
all."

Also, I'm no mail list guru, but looking at the headers, it appears that
there isn't any support for threads.  It might be nice to have this for
those who read with mailers that support threading, like Mutt on Linux,
etc...

Best,

Tad

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Mon Mar 28 18:01:43 2005
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Date: Mon, 28 Mar 2005 09:57:41 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] have an old PC collecting dust?
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http://digitalmedia.oreilly.com/pub/a/oreilly/digitalmedia/2005/03/23/ 
linuxmusic.html

tinyurl: http://tinyurl.com/6fck2


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From ???@??? Mon Mar 28 17:09:23 2005
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Date: Mon, 28 Mar 2005 12:09:15 -0500
From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [ot] Phillips Toucam?
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Hey-

Anybody know where to get the Phillips toucam for cheap in the US?

Best,

<xxxxxxxx@xxxxxxxxx.xxx>

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Date: Mon, 28 Mar 2005 11:28:47 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: [microsound] m mckinl       m mckinl     m mckinl         m mckinl [3]
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m mckinl       m mckinl     m mckinl         m mckinl
m mckinl       m mckinl     m mckinl         m mckinl
m mckinl       m mckinl     m mckinl         m mckinl
mhmckinld of sam mckinlay & mimckinlserra in momckinl
mhmckinld of sam mckinlay & mimckinlserra in momckinl
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinl---------ard serra in love
the sound of sam mc////ay & rich\\\\serra in love
m mckinl      m mc//nl       m mcki\\        m mckinl
m mckinl      m //kinl       m mckinl\\      m mckinl
m mckinl      m |ckinl    ___m mckinl |      m mckinl
m mckinl      m|mckinl   /   \ mckinl  |     m mckinl
mtmckinl Googlm+mcki3l-art __/:mckinlmi|ate wmdmckinl
               |             \         |
                |        \___/        |
                \\                   //
 the sound of sam \\kinaly & richar//serra in lovethe sound of
 sam mckinaly & ric\\\\ serra in////ethe sound of sam mckinaly
 & richard serra in lov---------d of sam mckinaly & richard
 serra in lovethe sound of sam mckinaly & richard serra in
 lovethe sound of sam mckinaly & ric$Crd serra in lovethe
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From ???@??? Mon Mar 28 16:08:14 2005
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Date: Mon, 28 Mar 2005 11:09:14 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: [microsound] the sound of sam mckinlay & richard serra in love [2.0]
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the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love


                           __
                          /  )
[test in Google-e/mail-art  /0: disseminate widely]
                           /
                          /___

 the sound of sam mckinaly & richard serra in lovethe sound of
 sam mckinaly & richard serra in lovethe sound of sam mckinaly
 & richard serra in lovethe sound of sam mckinaly & richard
 serra in lovethe sound of sam mckinaly & richard serra in
 lovethe sound of sam mckinaly & richard serra in lovethe
 sound of sam mckinaly & richard serra in lovethe sound of sam
 mckinaly & richard serra in lovethe sound of sam mckinaly &
 richard serra in lovethe sound of sam mckinaly & richard
 serra in lovethe sound of sam mckinaly & richard serra in
 lovethe sound of sam mckinaly & richard serra in lovethe
 sound of sam mckinaly & richard serra in lovethe sound of sam
 mckinaly & richard serra in lovethe sound of sam mckinaly &
 richard serra in lovethe sound of sam mckinaly & richard
 serra in lovethe sound of sam mckinaly & richard serra in
 lovethe sound of sam mckinaly & richard serra in lovethe
 sound of sam mckinaly & richard serra in love

              und of sam mckinaly & ric
              m mckinaly & richard serr
              ly & richard serra in lov
              serra in lovethe sound of
              vethe sound of sam mckina
              und of sam mckinaly & ric
              m mckinaly & richard serr
              ly & richard serra in lov


                            _
                           | |
                       _|_ | |     _
                        |  |/ \   |/
                        |_/|   |_/|__/



                                           |
                 ,   __          _  _    __|
                / \_/  \_|   |  / |/ |  /  |
                 \/ \__/  \_/|_/  |  |_/\_/|_/


                      _
                     | |
                 __  | |    ,   __,   _  _  _
                /  \_|/    / \_/  |  / |/ |/ |
                \__/ |__/   \/ \_/|_/  |  |  |_/
                     |\
                     |/
                          _               _
                         | |  o          | |
          _  _  _    __  | |      _  _   | |  _
         / |/ |/ |  /    |/_) |  / |/ |  |/  |/  |   |
           |  |  |_/\___/| \_/|_/  |  |_/|__/|__/ \_/|/
                                                    /|
                                                    \|

                               ()
                               /\
                              /  \/
                              \__/\


                            _
                   o       | |                   |
              ,_       __  | |     __,   ,_    __|
             /  |  |  /    |/ \   /  |  /  |  /  |
                |_/|_/\___/|   |_/\_/|_/   |_/\_/|_/




                    ,   _   ,_    ,_    __,
                   / \_|/  /  |  /  |  /  |
                    \/ |__/   |_/   |_/\_/|_/



                          o
                              _  _
                          |  / |/ |
                          |_/  |  |_/


                        _
                       | |
                       | |  __        _
                       |/  /  \_|  |_|/
                       |__/\__/  \/  |__/


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the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love
the sound of sam mckinlay & richard serra in love


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>From: Filip Gheysen <xxxxxxxxxxxxxxxx@xxxxx.xxx>
>To: xxxxx@xxxxxxxxxxxxxxxx.xxx
>Subject: glasvocht / nosordo compilation
>Date: Mon, 28 Mar 2005 06:32:35 -0800 (PST)
>
>"We're for the Unknown, Unbought & Unbossed"
>Glasvocht / Nosordo compilation cd
>
>all info about artists:
>http://users.telenet.be/sub-ported/gvcd04/glasvocht-nosordo.htm
>
>info & order:
>xxxxx@xxxxxxxxxxxxxxxx.xxx
>
>
>
>
>__________________________________
>Do you Yahoo!?
>Yahoo! Small Business - Try our new resources site!
>http://smallbusiness.yahoo.com/resources/

_________________________________________________________________



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From ???@??? Mon Mar 28 12:18:16 2005
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From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Re: ***IMPORTANT - microsound-announce***
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Matt Davignon wrote on 3/27/05:

>I did try to sign up for the annoucements list. It
>sent me an email to confirm, but when I replied to
>that email, it bounced. 

I'm getting a similar response:

>>Your message cannot be delivered to the following recipients:
>>
>> Recipient address:
>> xxxxxxxxxx-xxxxxxxx-xxxxxxx@xxxxxxxxxx.xxxxxxx.xxx Reason: Remote
>> SMTP server has rejected address Diagnostic code: smtp;550
>> <xxxxxxxxxx-xxxxxxxx-xxxxxxx@xxxxxxxxxx.xxxxxxx.xxx>: Recipient
>> address rejected: User unknown in virtual alias table Remote system:
>> dns;www.nexthop.net (TCP|167.206.4.202|26098|209.6.82.6|25)
>> (mail.or8.net ESMTP Postfix)

Best,

Tad

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Mon Mar 28 11:41:08 2005
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Date: Mon, 28 Mar 2005 13:41:00 +0200
From: dimitri <xxxxxxx@x-x-x-x.xxx>
Subject: [microsound] OTO ONKYO playlist
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--Boundary_(ID_bGvbwGlMX8CSuedueT7jvw)
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Hi List,
This is OTO ONKYO, radio show broadcasted in Bordeaux (France) on Radio 
Sauvagine (94.9FM) every friday at 20h30
This is the last playlist >>>>


Akihiro Kubota  _ 020331 live
Weltecho _ #4 (disc 2)
Weltecho _ #5 (disc 2)
Eric Leonardson _ Live at sing sweet software
Heller _ ETE2.2 _ .09..03. _ n_rec
Greg Davis + Keith Fullertonwithman _ Williamsburg, va _ clip
Stephan Mathieu _ d as in dub (live)
Section Amour _ EVENT 20_14 (live)
Michael Gendreau _ Pas de ligne au No 3
The Remote Viewer _ be honest _ the noise & the city (v/a)
-_-_-_unknow_-_-_-
Curtis Roads _ Half Life part 1_ Or some computer music (2) (v/a)
Phonecia _ non specific accoustic simulation _ Or some computer music 
(2) (v/a)

http://oto-onkyo.blogspot.com

Thanks to everyone who send me sounds, i will diffuse them soon.

cheers, Dimitri
--Boundary_(ID_bGvbwGlMX8CSuedueT7jvw)--

From ???@??? Mon Mar 28 07:03:13 2005
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I did try to sign up for the annoucements list. It
sent me an email to confirm, but when I replied to
that email, it bounced. 

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From ???@??? Mon Mar 28 06:55:13 2005
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>I still do not understand why we have to 
>segregate the content and the discussion 
>of the content. or am I being obtuse??

From my experience with different music discussion
mailing lists, I think this is a good idea. If a
discussion list gets to a point where there's 3 times
as many announcements as discussion, people tend to
stop looking to that list for discussion. 

On the other hand, one of the local lists here (SF bay
area new music discussion) also followed the path of
seperating the discussion from announcements. The
result of that is the announcement list has many more
subscribers - lots of people who want to keep up on
shows, but don't have time or mailbox space to read
through all the dialog. 

I actually run a list now that has no discussion and
no gig announcements. Just announcements of
experimental music shows and cd projects that are
looking for participants. 

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From ???@??? Mon Mar 28 01:05:56 2005
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i think this is great. should make both discussion and
annoucements more effective and focused. 
thanks john and kim! 
-andrew


                
__________________________________ 
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Date: Sun, 27 Mar 2005 17:26:50 -0400
From: microbio <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: [microsound] Suramerica Electronica
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http://www.suramericaelectronica.org/

During the month of April Suramericelectronica,  the internet community 
of latin american digital and electronic musicians, will be 
live-streaming his first Muestra en Linea de Música Electrónica y 
Digital from Argentina, Uruguay, Chile, Peru, Colombia, Venezuela  and 
Mexico. The shows will be broadcasted every friday and saturday

This is a great opportunity to get a good idea of what is going on in a 
continent that is integrating very fast and in which artists were used 
to have more contact with Europe and the USA than with their 
geographical neighbors. In the last last two years, interaction among 
Latin American musicians have increased substantially in part due to 
the internet, but also because of the recent electronic music festivals 
thrown in Peru, Colombia and Chile. With this sample, you will be able 
to get a taste of the well defined style of our scene characterized by 
the  very spirit of our culture: diversity and openness: from Inka 
noise to minimal Gaucho and Mapuche IDM passing through Yanomami 
techno.

We have put online some live-sets from past shows so that you have a 
reference of  what is coming.



Asteroide (Discos  Invisibles) Tijuana, Mexico. setlive.mp3 |  22.23min 
| 40.9m
<<http://sur.microbiorecords.net/muestra_htm/asteroide.htm>>

Cardopusher (-) Caracas, Venezuela.buenosgliches.mp3 |  22:26min | 41mb
<<http://sur.microbiorecords.net/mp3/buenos_glitches-cardo%201.mp3>>

Cooptrol (Monteaudio) Montevideo, Uruguay. setsura.mp3 | 10:48min | 
19.7mb
<<http://sur.microbiorecords.net/mp3/setsura-cooptrol%201.mp3>>

Dilo (Zensible  Rec) Buenos Aires , Argentina.liveset1.mp3 |  20:52min 
| 38.2mb
<<http://sur.microbiorecords.net/mp3/live_set1-dilo%201.mp3>>

El  Lazo Invisible (Discos Invisibles) Tijuana, Mexico.vaparati.mp3 |  
21:29min | 39.3mb
<<http://sur.microbiorecords.net/mp3/vaparati_1-lazoinvisible%201.mp3>>

Gurtz (Zensible  Rec) Buenos Aires , Argentina. liveset.mp3 | 48:14min 
| 66.1mb
<<http://sur.microbiorecords.net/mp3/live_set-gurtz.mp3>>

I/O (Discos  invisibles) Tijuana, Mexico. sur.mp3 |  11:51min | 21.6mb
<<http://sur.microbiorecords.net/mp3/sur-io%201.mp3>>

Protov (Series  - Microbio)  Medellin, Colombia.en_vivo.mp3 |  28:52min 
| 52.8mb
<<http://sur.microbiorecords.net/mp3/en_vivo-protov%201.mp3>>

Rafael  L. Garnica (LAE - Microbio) Merida, Venezuela. valecillos.mp3 | 
  26:33min | 46.6mb
<<http://sur.microbiorecords.net/mp3/valecillos%201.mp3>>

Yopoman (Microbio) Merida, Venezuela. novela.mp3 | 38:12min  | 69.9mb
<<http://sur.microbiorecords.net/mp3/novela.mp3>>


---------------------------------------
www.microbiorecords.net
www.biodata.microbiorecords.net


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From ???@??? Sun Mar 27 13:56:55 2005
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Date: Sun, 27 Mar 2005 08:57:28 -0500
From: Chantale Laplante <xxxxxxxx@xxx.xxx>
Subject: [microsound] munich
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Hi everyone,
I am a composer - improviser based in Montreal and I have been invited 
to play at  the Music Unlimited Festival in Wells (Austria) next Fall - 
---- since this is not next door I am trying to connect with possible 
other performances----
I am curious about  Munich.... Would anybody have information about the 
music scene of this Bavarian city------

Thank you

Chantale Laplante


http://www.electrocd.com/bio.e/laplante_ch.html

to hear Brilliant Days - For 4 Ears - 
http://www.electrocd.com/bio.e/laplante_ch.cat.html


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From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Subject: [microsound] micrsound edition :: root of sine
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root of sine :: microsound edition

is available at audiobulb records under the 'project' page :::: 
www.audiobulb.com

this edition (complete with artwork) comprises of tracks developed from a 
single second of 440 hz sinewave tone.

the artists include regular contributers to the microsound mailing list.

tracknumber : artist : track name

00 btb - wrong sine
01 mdb - wood
02 future remix - nothing is pure (clean)
03 staplerfahrer - the very same thing
04 miulew - three users
05 gintas l - snn
06 rafael flores - cansine
07 atonal01 - 440 armonicos
08 pino the frog - iowa altar
09 john hanes - sinesong
10 j dippold - sinewich
11 norma block - landing

artwork by zevan rosser http://www.shapevent.com/ 


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From ???@??? Sat Mar 26 22:11:52 2005
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Date: Sat, 26 Mar 2005 14:11:44 -0800
From: Trevor <xxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] ***IMPORTANT - microsound-announce***
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I have no problem with the 'great divide.'
I appreciate both streams of content, and actually like the idea of separation
from a simply organizational p.o.v.  Less time sorting email is more time makinf
music. Works for me.


Quoting Joakim Lindén <xxxxxx.xxxxxx@xxxxxx.xx>:

> I thought that with "Announcements" he meant "advertising of 
> events/products" and that such things could be made in another list...
> 
> For us who are on this list to read and discuss music, sounds and other such
> 
> things this will not bother us - it'll probably even be better. For those of
> 
> you who are involved in these scenes across the globe and like to be updated
> 
> about that, the new list will provide you with that...
> 
> Am I right, or did I misunderstand?
> 
> Joakim
> 
> ----- Original Message ----- 
> From: "Cory" <xxx.xxxxx@xxxxx.xxx>
>
 To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Saturday, March 26, 2005 5:42 AM
> Subject: Re: [microsound] ***IMPORTANT - microsound-announce***
> 
> 
> >I still do not understand why we have to segregate the content
> > and the discussion of the content. or am I being obtuse??
> >
> > -------------------------------------
> > audio @ http://www.myspace.com/myo 
> 
> 
> ---------------------------------------------------------------------
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> 
> 





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I heard that Jeb Bush has called an emergency session of the Florida
legislature to see if they can make the microsound list a ward of the
state...

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Sat Mar 26 20:02:09 2005
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From: =?iso-8859-1?Q?Joakim_Lind=E9n?= <xxxxxx.xxxxxx@xxxxxx.xx>
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I thought that with "Announcements" he meant "advertising of 
events/products" and that such things could be made in another list...

For us who are on this list to read and discuss music, sounds and other such 
things this will not bother us - it'll probably even be better. For those of 
you who are involved in these scenes across the globe and like to be updated 
about that, the new list will provide you with that...

Am I right, or did I misunderstand?

Joakim

----- Original Message ----- 
From: "Cory" <xxx.xxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, March 26, 2005 5:42 AM
Subject: Re: [microsound] ***IMPORTANT - microsound-announce***


>I still do not understand why we have to segregate the content
> and the discussion of the content. or am I being obtuse??
>
> -------------------------------------
> audio @ http://www.myspace.com/myo 


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From ???@??? Sat Mar 26 06:46:04 2005
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Date: Fri, 25 Mar 2005 22:44:52 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] ***IMPORTANT - microsound-announce***
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i hope everyone ignores the other list 
and posts their announcements here
robert
----- Original Message ----- 
From: "Cory" <xxx.xxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Friday, March 25, 2005 8:42 PM
Subject: Re: [microsound] ***IMPORTANT - microsound-announce***


>I still do not understand why we have to segregate the content
> and the discussion of the content. or am I being obtuse??
> 
> -------------------------------------
> audio @ http://www.myspace.com/myo

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From ???@??? Sat Mar 26 04:41:34 2005
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i'd like to propose another list:

"micro-managed-sound"

on this list only those that intend to micro-manage their interactions 
with musical genres via conceptual and or philosophic discussions may 
post announcements of said intentions. once those intentions have been 
thoroughly scrutinized, by the micro-micro-manager-managers, a 
committee will be formed, so that discussions can be had "off-line" and 
"tasks" assigned, which i think will lead to a much more efficient 
level of communication surrounding the management of all things micro.

can i get a show of hands?

what about a couple of shadow puppets and some sign language?

at least maybe someone could flip me off.


On Friday, March 25, 2005, at 06:16 PM, graham miller wrote:

> democracy reduced to redundancy. brilliant.
>
> Kim Cascone wrote:
>
>> John Saylor has generously donated both his server space and time
>> setting up a new list for members who want to promote content...it is
>> called the microsound-announce list and can be found here:
>> http://microsound.nexthop.net/mailman/listinfo/microsound-announce
>> ###########################################
>> - this is where the microsound community should post announcements
>> promoting their music, label, radio show, upcoming concert, or
>> whatever...
>> ###########################################
>> - here is how the process of switching over is going to work:
>> - all people who normally post announcements to the microsound list
>> will have two weeks (Friday April 8) to update their address books and
>> switch to the announce list for posting future microsound related
>> announcements
>> - after Friday April 8 members still posting announcements to the
>> regular microsound list will be contacted by email and politely asked
>> to redirect their posts to the microsound-announce list
>> - if after a couple of polite requests the poster continues to post
>> announcements to the regular list their microsound account will be
>> terminated
>> - the process should be pretty simple but if there are problems
>> unsub'ing or sub'ing please contact:
>> Andy Thomas <xxxx@xxxxxxxxx.xxx> - for the microsound list
>> or
>> John Saylor <xxxxx@xxx.xxx> - for the microsound-announce list
>> and let them know about the problem you are having...
>
>>
>> thanks!
>> KIM
>>
>> ---------------------------------------------------------------------
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>> website: http://www.microsound.org
>
>
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>
>
David Fodel
720-280-3179
805 East Chester St.
Lafayette, Colorado
80026


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I still do not understand why we have to segregate the content
and the discussion of the content. or am I being obtuse??

-------------------------------------
audio @ http://www.myspace.com/myo
--Boundary_(ID_UNAnPttHOQZZgkcMK/ti0Q)--

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>democracy reduced to redundancy. brilliant.
-???
 ...uhh?
 What...
 How do you mean...

AvS

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

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

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

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

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



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From ???@??? Sat Mar 26 01:16:52 2005
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democracy reduced to redundancy. brilliant.

Kim Cascone wrote:

> John Saylor has generously donated both his server space and time
> setting up a new list for members who want to promote content...it is
> called the microsound-announce list and can be found here:
> http://microsound.nexthop.net/mailman/listinfo/microsound-announce
> ###########################################
> - this is where the microsound community should post announcements
> promoting their music, label, radio show, upcoming concert, or
> whatever...
> ###########################################
> - here is how the process of switching over is going to work:
> - all people who normally post announcements to the microsound list
> will have two weeks (Friday April 8) to update their address books and
> switch to the announce list for posting future microsound related
> announcements
> - after Friday April 8 members still posting announcements to the
> regular microsound list will be contacted by email and politely asked
> to redirect their posts to the microsound-announce list
> - if after a couple of polite requests the poster continues to post
> announcements to the regular list their microsound account will be
> terminated
> - the process should be pretty simple but if there are problems
> unsub'ing or sub'ing please contact:
> Andy Thomas <xxxx@xxxxxxxxx.xxx> - for the microsound list
> or
> John Saylor <xxxxx@xxx.xxx> - for the microsound-announce list
> and let them know about the problem you are having...

>
> thanks!
> KIM
>
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From ???@??? Sat Mar 26 00:40:46 2005
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on 3/25/05 7:22 PM, Kim Cascone at xxx@xxxxxxxxxxxxx.xxx wrote:

> John Saylor has generously donated both his server space and time
> setting up a new list for members who want to promote content...

Thanks for putting the time/work into this John!

omnid
-- 
OUT NOW:Authorised Version "Wrong Number"
OUT NOW:Retinascan "Fragile Balance"


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From ???@??? Sat Mar 26 00:22:21 2005
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John Saylor has generously donated both his server space and time 
setting up a new list for members who want to promote content...it is 
called the microsound-announce list and can be found here:
http://microsound.nexthop.net/mailman/listinfo/microsound-announce
###########################################
- this is where the microsound community should post announcements
promoting their music, label, radio show, upcoming concert, or 
whatever...
###########################################
- here is how the process of switching over is going to work:
- all people who normally post announcements to the microsound list 
will have two weeks (Friday April 8) to update their address books and 
switch to the announce list for posting future microsound related 
announcements
- after Friday April 8 members still posting announcements to the 
regular microsound list will be contacted by email and politely asked 
to redirect their posts to the microsound-announce list
- if after a couple of polite requests the poster continues to post 
announcements to the regular list their microsound account will be 
terminated
- the process should be pretty simple but if there are problems 
unsub'ing or sub'ing please contact:
Andy Thomas <xxxx@xxxxxxxxx.xxx> - for the microsound list
or
John Saylor <xxxxx@xxx.xxx> - for the microsound-announce list
and let them know about the problem you are having...
thanks!
KIM


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From ???@??? Fri Mar 25 21:07:36 2005
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Date: Fri, 25 Mar 2005 13:06:56 -0800 (PST)
From: Curtis Cousins <xxxxxx_xxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Two new DANADAX EPs released.
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2 DANADAX EPs have  been released by Intelligentmachinery.net, a netlabel that specializes in Dark Ambient, Noise, and abstract music.

The First EP is called "Trips Into Places Unknown," which can be found here: http://www.intelligentmachinery.net/releases/trips.php. It is described as "deep, dark drone and dark ambient of a unique experimental disposition that can only be described as "soft noise". The perfect accompaniment for any subliminal odyssey in its balance of harsh sound and lush textural delivery."

The Second EP is called "Consciousness in Shifts of Decay," found here: http://www.intelligentmachinery.net/releases/shifts.php. It has been described as "A myriad of shifting layers of soft noise creating aural textures of a dark and mystic nature. The experimental duo of DANADAX deliver this discourse on decaying consciousness in a brief, but beautiful, collection of their own brand of dark ambient."

Downloads are available as lo-fi MP3s, and hi-fi MP3 downloads are just 20 cents each.

If you buy both EP's, you get a free EP from Likwid Twizter, a side project belonging to one of the members of DANADAX.

All artwork for the EPs are available at the website, and they print in high resolution.

DANADAX calls their music "soft noise" because they try to make noise and other strange sounds into atmospheres. It's best if you listen to it to get a better feeling for the term.

                
---------------------------------
Do you Yahoo!?
 Yahoo! Small Business - Try our new resources site! 
--Boundary_(ID_fnqu1yBCFrsOWuUZx55J5g)--

From ???@??? Fri Mar 25 20:04:05 2005
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Date: Fri, 25 Mar 2005 15:03:53 -0500
From: earphone <xxx@xxxxxxxx.xxx>
Subject: [microsound] earphone music update
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hello,

we want to thank everyone who has submitted works for, earphone 01.  we 
received so much good work that we will be releasing a series of 
compilations.  this means that there will be, earphone 01, earphone 02, 
and, earphone 03, so far.

a short list of artists that will be on, earphone 01 is:

alexis perepelycia
waldlust
rarebit
gintas k
austistici

a complete list will be available soon.

cheers,
m
--

--> http://www.earphonemusic.com
--> xxxx@xxxxxxxxxxxxx.xxx


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From ???@??? Fri Mar 25 09:29:03 2005
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Date: Fri, 25 Mar 2005 09:28:58 +0000
From: bobby whn <xxxx_xxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] AI in microsound
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 FILETIME=[12A36D40:01C5311D]

hello,
there's also an external max object by Yon Visell called _hmmm_ which uses a 
hidden markov model
to generate patterns , and there's an article in Organised Sound Vol9 No_2 
which fully explains its background and possible implementation.   You can 
download the object from:
http://www.ph.utexas.edu/~yon/soft.html
i hope this is useful
-bobby whelan


>From: Georg Bosch <xxxx@xxxxxxxxxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] AI in microsound
>Date: Thu, 24 Mar 2005 17:29:04 +0100
>
>>I'm starting to develop a set of AI algorithms to assist in live
>>performance, which will (roughly speaking) analyze control messages
>>that I send and, after a certain point, be able to generate their
>>own control messages based on the patterns I used.  Eventually I'd
>>like to design an algorithm to analyze a continuously changing
>>audio texture on multiple levels and be able to reproduce similar,
>>non-repeating textures.  I've started by giving my PD patch some
>>various recordings of birdsong (of the eastern Wood Thrush) for
>>analysis, hoping to tune it to be able to generate its own
>>non-repeating woodthrush-like song.
>
>Hi David, hi list,
>
>I'm not using PD myself, but i used  Orm Finnendahls old 68k-only
>Markov object (recently ported to PD)  for a max patch controlling 2
>dot matrix printers. Not exactly microsound, but still pretty
>noisy;) The markov object would parse an existing dialog on a letter
>by letter (i.e. ascii-)level, 4th or 5th order IIRC, and generate
>ever changing new text. I have no idea of the math going on inside
>(I'm very grateful for those black boxes), but once I understood how
>to work with it I found it relatively intuitive to use: you 'teach'
>it with a stream of data, and then it outputs something similar, but
>not quite the same and never repeating. Not sure if this counts as
>AI though. I never really used it to produce sound, but feeding it
>with note data / midi files gave some interesting auto-variation
>melodies.
>
>>There was an interesting interview with Brian Eno back in the
>>1980's (with The Wire mag, I believe) where he expressed a desire
>>for a musical "black box" that could produce music in a 
given
>>style, a Beethoven black box, a Beatles black box, an Eno black
>>box...
>
>There's a markov object for pre-OSX Max by Nao Tokui that uses Bachs
>"Jesu, Joy of Men's Desires" in the help file;)
>
>best, g.
>
>
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Hi all,

upcoming:


- Sunday 27 -


André Gonçalves 


Bolsa Ernesto de Sousa, a memorial fellowship named for the Portuguese
Intermedia Artist, sponsored by the Luso-Americana Foundation and the
Fundacao Calouste Gulbenkian.

presents an intermedia performance:
      
"Resonant Objects" aims at bringing together sound and space through a
physical phenomenon, where sound is used as a medium to excite space to be
heard, sound generating more sound through space; so the sound we hear is
strictly related to the object's spatial characteristics, its shape,
dimensions and material, but also its relationship with the site-specific
architecture and  again the spatial characteristics of the precise space
that hosts all the objects.

with special guest Kenneth Kirschner


Experimental Intermedia
224 Center St. at Grand
NY

21:00h
$5


all the best
Andre

http://www.ctrl.tk


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PHONIQ PRESENTS the second installment of

BETA_LAB

when: saturday march 26th 2005
where: cafe esperanza [in the back room]
5490 st-laurent, montreal, canada
time: 9pm-2am
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 BETA-LAB will feature:

aidan baker - live - [aidanbaker.org] - toronto
des cailloux et du carbone - live - [natacha recodings] - montreal
naw - live - [phoniq.net/noisefactoryrecords.com] - montreal
djzeit - dj - [angle-rec.net] - montreal
johnny ranger - vj - [mindroots.com] - montreal


for more info visit: www.phoniq.net

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

PRESS RELEASE

ABOUT BETA_LAB

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


ABOUT PHONIQ:

Phoniq is a collective of individuals dedicated to promoting
bleeding edge electronic music by Canadians, with an emphasis on exposing
talent that has not yet been exposed inside or outside of Canada. The
concept for Phoniq has grown over the past year from the initial ideas of
how to create a viable promotional vehicle for Canadian artists in
electronic music into an active community mailing list, a net-label and
resource tools. All of these aspects are in place in order to help the
community to network and grow. In general, Phoniq has created a portal
that should prove useful for anyone working in electronic music in Canada.

THIS MONTHS ARTISTS:

Aidan Baker (ARC, Nadja) TORONTO
www.aidanbaker.org
www.phoniq.net
www.transientfrequency.com

Aidan Baker is a musician & writer currently based in Toronto, Canada. He
has released numerous cds on independent labels from around the world & is
the author of 2 books of poetry, 2 poetry chapbooks, & has published
poetry, fiction, & criticism in various international & scholarly
journals. As a solo artist, Baker explores the deconstructive sonic
possibilities of the electric guitar as a primary sound source, creating
music that ranges from experimental/ambient to post-rock to contemporary
classical.


des Cailloux et du Carbone - (Natacha's Recordings) MONTREAL

ingredients: marcello, laptop, household field recordings such as vibes
and/or chopsticks, digital processing, errors, random sequences, may
contain traces of house music.
des cailloux et du carbone is marcello marandola; half of data-folk duo
cian ethrie (lucky kitchen, natacha's recordings). also part of natacha's
recording sound system and rivers and mountains.

NAW - (Noise Factory Records, Phoniq) MONTREAL
www.noisefactoryrecords.com
www.phoniq.net

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. naw is currently preparing a new release for pertin_nce
label (quebec city) due for release in early April 2005.

DJZeit - (.Angle.Records) MONTREAL
www.angle-rec.net

One of the original founders of .Angle.Records in Montreal, With
..Angle.Records, Zeit's intent was and still is to promote artists and
music from Montreal and Canada and beyond, not caring too much about
prevailing trends, and with
an affinity for obscure sounds, be they atmospheric or noisy, or in
between. Evocative or challenging music made electronically or with any
instrument actually. This gave an eclectic agenda so far. From technoid
post industrial (Vromb from Montreal) to old-school weird analogue (Nos
Royaumes from Montreal) to guitar-based drone bliss (Aidan Baker from
Toronto) to glitchy and crushing dark-ambient (Monstrare and Wilt from the
U.S.)^While the next release of .Angle.Rec. leans towards the more
abrasive and harsh rhythmic side of things (Montreal^s emerging rhythmic
noise artist LCEDP), DJZeit has a known (or not so known!) heavy fondness
for, amongst others, immersive ambient, idm, and contemplative droney
atmospheres ^with the occasional drift towards more experimental ventures.
Well, this is exactly what he has in store for March 26th^
^and those who, at some point, in 2002-2004, listened to DJZeit^s ^Dans
L^Oeil De La Comete^ radio show on UQAM Web Radio and then on 102.3 Radio
Centre-Ville, late at night, especially the last longer part, will be
pleased!

Johnny Ranger - (mindroots) MONTREAL
www.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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Date: Fri, 25 Mar 2005 13:08:21 +1100
From: ii <xxxxxxxx@xxx.xxx.xx>
Subject: [microsound] [syd/aus gig] : ii tour april 1-2
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for those in sydney, australia...

next weekend, ii (a melbourne instrumental duo) will be heading your  
way.

traipsing between ambient electrics, tempered noise, icy plink-outs,  
and strummed bliss
with guitars, drums, keys, and computer.

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

friday april 1 - 7:30pm - $6 - all ages
yvonne ruve : 104a/342 elizabeth st, surry  hills

'no puppets no dice'/'beofre' castings/ii split 7" pre-launch
ii + castings + seaworthy

                                thanks to castings + soundnosound

_____________________________________________

saturday april 2 - $? - not sure what time, but you know..
bowlers club of nsw : 95 york st, sydney

sbs whatever sessions 2 sydney cd launch
sparrow hill + the emergency + ii + barrage + ill bravados

                                thanks to feral media

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

more info:

ii site : http://www.users.tpg.com.au/adslalnw/ii-files.html

castings : http://www.geocities.com/castings_music
seaworthy / steadycam : http://www.steadycamrecords.com.au/
soundnosound : http://members.optusnet.com.au/soundnosound/

feral media : http://www.feralmedia.com.au/
sbs whatever site : http://www.sbs.com.au/whatever

sparrow hill : http;//www.sparrowhill.com/
barrage : http://www.barragemusic.com/
the emergency : http://www.the-emergency.net/

--Boundary_(ID_NGKKEi4yZi4gejee3aAbWQ)--

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Date: Thu, 24 Mar 2005 16:08:36 -0800 (PST)
From: zach layton <xxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] (ot) 3.30 Darmstadt "Classics of the Avant Garde" - w.
 Luke Dubois and Dafna Naftali
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March 30th at 10pm, Darmstadt "Classics of the Avant Garde" returns
to Galapagos featuring a rare and fantastic collaboration between live
laptop virtuosos Luke Dubois (http://music.columbia.edu/~luke/) and Dafna
Naftali(http://dafna.info/).  There is a rumor that they might build a max
patch in real time from scratch.  It will be an extremely exciting
performance...max users and laptop afficionados should not miss it.

And, providing prelude, interlude and postlude material for this
performance, I will be joined on the turntables playing late romantic and
20th century avant-garde hits with Nick Hallett (plantains/maison du chic)
and Brock Monroe (Mighty Robot AV Squad)...

R. Luke DuBois is a composer, programmer, and video artist living in New
York City. He holds a doctorate in music composition from Columbia
University, and teaches interactive sound and video performance at
Columbia's Computer Music Center, New York University, and the School of
Visual Arts. He has done interactive programming and music production work
for many artists, most recently Toni Dove, Chris Mann, Elliott Sharp, and
Michael Gordon, and was a staff programming consultant for Engine27 for
the 2003 season. He is a co-author of Jitter, a software suite developed
by Cycling'74 for real-time manipulation of matrix data. His music with
his band, the Freight Elevator Quartet, is available on Caipirinha/Sire
and Cycling'74 music.

A singer, sound artist/improviser and composer, coming from a genuinely
eclectic background of music-making as singer/guitarist/electronic
musician, Dafna Naphtali performs and composes using her own custom
Max/MSP programs for sound processing of voice and other instruments. 
This she does in improvised projects and with the digital chamber punk
ensemble, What is it Like to be a Bat?, that she co-leads with Kitty
Brazelton (see www.whatbat.org link). She's received commissions and
awards from NY Foundation for the Arts, NY State Council on the Arts, Meet
the Composer, a commission from American Composers Forum (for pianist
Kathleen Supové) and a residency at STEIM (Holland). And gives
workshops/teaches at universities including New York University, where she
earned degrees in voice and Music Technology (BM, MM), at Bard College and
the School of Visual Arts. She also teaches, programs and consults about
Max/MSP at Harvestworks since 1996, and was a programmer for two years for
many artists and her own projects at Engine 27 (a multi-channel sound
gallery).  She has done sound design and/or programming work for the
projects of Jin Hi Kim, Shelley Hirsch, Pamela Z, Fred Frith, Jim Staley,
Henry Threadgill, Steve Coleman and Chico Freeman. Dafna can be heard with
Mechanique(s) on a forthcoming release on In-situ ('05) and as featured
vocalist on José Halac’s CD ‘Dance of 1000 Heads’ (Tellus), as well as on
her acclaimed release with What is it Like to be a Bat? on Tzadik/Oracles.

WEDNESDAY, MARCH 30, 10PM, FREE
GALAPAGOS, 70 NORTH 6TH STREET, BETWEEN KENT AND WHYTHE





www.zachlaytonindustries.com

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From: michael fish <xxxxxxx_xxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] Re: Call for Submissions
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--- Wakefield <xxxxxx@xxxxxxx-xxxxx.xxx> wrote:

> It's a little strange sometimes hearing location
> recordings as if there is
> nobody there.



i find this statement a little strange in itself.

is it not more like "as if _you_ were there"?

if you see what i mean...


michael_ffish .  .   .

Send instant messages to your online friends http://uk.messenger.yahoo.com 

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timing out/refusing connection. anyone else?

k:p


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From ???@??? Thu Mar 24 20:56:29 2005
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Subject: [microsound] Contents Onda Sonora 23/03/05
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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
·Listen live real time -www.ondasonoraradio.com
_________________________________

CONTENTS ONDA SONORA 23/03/05

01. MY CAT IS AN ALIEN
Track: Brilliance In The Outer Space
Album: From The Earth To The Spheres Vol.1
Label: Opax Records / Very Friendly

Dúo formado en Turín por Maurizio y Roberto Opalio, al
norte de Italia. Desde 1997, los hermanos Opalio han
venido desarrollando un proyecto al que llamaron My
Cat Is An Alien, de cuya primera grabación enviaron
copia a Sonic Youth a NYC y desde entonces se ha
fraguado una amistad que ha llevado a los
norteamericanos a invitar a MCIAA a tocar en repetidas
ocasiones durante las giras europeas de Sonic Youth,
mientras que Thurston Moore editaba a través de su
sello Ecstatic Peace el debut internacional de los
italianos, “Landscapes of an electric city/Hypnotic
Spaces”. Este no era el primer trabajo de MCIAA, que
han venido publicando desde su creación diferentes
ediciones caseras de sus trabajos en formato cd-r a
través de la plataforma Opax Records. Vamos a escuchar
los 4 volúmenes de la serie "From The Earth To The
Spheres", colección de vinilos de edición limitada que
los italianos comparten con diversos artistas
norteamericanos. Como no podía ser de otra manera,
abre las series un vinilo compartido con una cara para
Thurston Moore y la otra protagonizada por los sonidos
nebulosos de los propios MCIAA

Duet formed in Torino by Maurizio and Roberto Opalio,
in Northern Italy. From 1997, the Opalio brothers have
been developing a project called My Cat Is An Alien,
whose first recording was sent to Sonic Youth in NYC
forging a friendship that has made the Americans
invite MCIAA to play in repeated occasions during
Sonic Youth European tours, while Thurston Moore
released through his own Ecstatic Peace label the
international debut of the Italians, “Landscapes of an
Electric City/Hypnotic Spaces”. This was not the first
MCIAA work, since they have published different
homemade editions of their works in cd-r format
through their platform Opax Records. We will listen
the 4 volumes of the series "From The Earth To The
Spheres", a collection of limited edition vinyls that
the Italians share with diverse North American
artists. The series are open with a vinyl shared by
Thurston Moore on one side and the hazy sounds of
MCIAA themselves

02. THUJA
Track: The Magma Is The Brother Of The Stone
Album: From The Earth To The Spheres Vol.2
Label: Opax Records / Very Friendly

El segundo volúmen de la serie "From The Earth To The
Spheres" está protagonizado por los propios My Cat Is
An Alien junto a Thuja, una de las formaciones en que
toma forma uno de los colectivos musicales más activos
de San Francisco, Jewelled Antler. Cerca de su línea
habitual, Thuja utiliza texturas minimalistas para la
composición de una obra hipnótica titulada "el magma
es hermano de la piedra"

The second volume of the "From The Earth To The
Spheres" series is started by My Cat Is An Alien
together with Thuja, one of the formations in which
takes form one of San Francisco's more active musical
communities, Jewelled Antler. In their habitual line,
Thuja uses minimalist textures for the composition of
a hypnotic work entitled "The Magma is the Brother of
the Stone"

03. JACKIE O'MOTHERFUCKER
Track: Breaking
Album: From The Earth To The Spheres Vol.3
Label: Opax Records / Very Friendly

Tercer volúmen de la serie "From The Earth To The
Spheres", editado por el sello de los italianos My Cat
Is An Alien Opax Records, y distribuido para todo el
mundo por Very Friendly desde el Reino Unido. Los
protagonistas de este tercer vinilo compartido son los
propios MCIAA, los artistas audiovisuales Maurizio y
Roberto Opalio, con otra exploración improvisada e 
instantánea de sonidos minimales y drones. En esta
ocasión, junto a Jackie-O Motherfucker, una banda
formada en Portland, Oregon, hace alrededor de una
década, que basa su música en las raíces más
primitivas del blues americano, el free jazz
improvisado e importantes dosis de folk-rock
psicodélico

Third volume of the "From The Earth To The Spheres"
series, released by the Italians My Cat Is An Alien on
their Opax Records label, and distributed for the
whole world by Very Friendly from the United Kingdom.
The protagonists of this third shared vinyl are MCIAA
(audiovisual artists Maurizio and Roberto Opalio),
with another improvised and instantaneous exploration
of minimal sounds and drones. In this occasion,
together with Jackie-or Motherfucker, a band formed in
Portland, Oregon, almost one decade ago, that base
their music in the most primitive roots of the
American blues, free improvised jazz and important
doses of psychedelic folk-rock

04. MY CAT IS AN ALIEN
Track: Winter Will Burn Out Yr Wings
Album: From The Earth To The Spheres Vol.4
Label: Opax Records / Very Friendly

Cuarto volúmen de la serie "From The Earth To The
Spheres", protagonizado por MCIAA, con un corte
místico y desolado, “Winter will burn out yr wings”,
que en esta ocasión comparte soporte con una pieza
inédita a cargo de Jim O'Rourke. Llegados a este punto
nos despedimos, aunque la serie "From The Earth To The
Spheres" continuará en los próximos meses con la
publicación de más vinilos compartidos por My Cat Is
An Alien, junto a artistas de la talla de Christina
Carter, Double Leopards, Glands of External Secretion
o Christian Marclay

Fourth volume in the series "From The Earth To The
Spheres" by MCIAA, with a mystic and desolated track,
“Winter will burn out yr wings”, that in this occasion
shared with an unreleased piece of Jim O'Rourke. "From
The Earth To The Spheres" series will continue in next
months with the release of more split vinyls by My Cat
Is An Alien, together with artists such as Christina
Carter, Double Leopards, Glands of External Secretion
or Christian Marclay
______
Nota: Este mensaje no ha sido solicitado, pero
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responde con un mensaje titulado “borrame” y serás
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Note: This is an undemanded message, but we have
considered it could be interesting for you. If that’s 
not your case, then reply us with this subject for
the message: “delete me”, and you will be inmediately 
out from the mailing. Thank you


                
______________________________________________ 
Renovamos el Correo Yahoo!: ¡250 MB GRATIS! 
Nuevos servicios, más seguridad 
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From ???@??? Thu Mar 24 18:37:11 2005
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Date: Thu, 24 Mar 2005 10:37:04 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] EU this spring
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due to a scheduling snafu I now have some time now open between [April 
28 --> May 8] while I am in Europe...so I am looking for 
workshop/lecture/performance opportunities for that period...if you 
know of anything in the EU please contact me off list and I will send 
you more information...
thanks in advance!
KIM


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From ???@??? Thu Mar 24 16:26:52 2005
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Date: Thu, 24 Mar 2005 17:29:04 +0100
From: Georg Bosch <xxxx@xxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] AI in microsound
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> I'm starting to develop a set of AI algorithms to assist in live 
> performance, which will (roughly speaking) analyze control messages 
> that I send and, after a certain point, be able to generate their own 
> control messages based on the patterns I used.  Eventually I'd like to 
> design an algorithm to analyze a continuously changing audio texture 
> on multiple levels and be able to reproduce similar, non-repeating 
> textures.  I've started by giving my PD patch some various recordings 
> of birdsong (of the eastern Wood Thrush) for analysis, hoping to tune 
> it to be able to generate its own non-repeating woodthrush-like song.

Hi David, hi list,

I'm not using PD myself, but i used  Orm Finnendahls old 68k-only 
Markov object (recently ported to PD)  for a max patch controlling 2 
dot matrix printers. Not exactly microsound, but still pretty noisy;) 
The markov object would parse an existing dialog on a letter by letter 
(i.e. ascii-)level, 4th or 5th order IIRC, and generate ever changing 
new text. I have no idea of the math going on inside (I'm very grateful 
for those black boxes), but once I understood how to work with it I 
found it relatively intuitive to use: you 'teach' it with a stream of 
data, and then it outputs something similar, but not quite the same and 
never repeating. Not sure if this counts as AI though. I never really 
used it to produce sound, but feeding it with note data / midi files 
gave some interesting auto-variation melodies.

> There was an interesting interview with Brian Eno back in the 1980's 
> (with The Wire mag, I believe) where he expressed a desire for a 
> musical "black box" that could produce music in a given style, a 
> Beethoven black box, a Beatles black box, an Eno black box...

There's a markov object for pre-OSX Max by Nao Tokui that uses Bachs 
"Jesu, Joy of Men's Desires" in the help file;)

best, g.


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From ???@??? Thu Mar 24 11:25:02 2005
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From: Alex Young <xxxx@xxxxx.xx.xx>
Subject: Re: [microsound] laptron
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 FILETIME=[2FE29B10:01C53064]

I quite like Boom Bip, and I enjoyed reading the interview with him on 
The Milk Factory:

http://www.themilkfactory.co.uk/interviews/boombipiw.htm

I find it interesting that he says "... the album is 98% live 
instruments", and Village Voice seems to think he's sitting in his 
bedroom with a computer.  Perhaps his bedroom is a studio full of 
musicians, in which case it must get very hot in the summer ;)

On 22 Mar 2005, at 19:59, Kim Cascone wrote:
> the birth of yet another non-genre:
> http://www.villagevoice.com/music/0511,tzou,62094,22.html

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


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From ???@??? Thu Mar 24 11:08:04 2005
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From: herv=?ISO-8859-1?B?6Q==?= boghossian <xxxxxxxxxxx@xxxx-xx.xxx>
Subject: [microsound] Plateformes : Boghossian/rives/saladin @ Les Voutes,
 Paris (fr)...
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hi,

if you're in paris this week-end !

26.03.05 Les Voutes > Paris (fr)
:: live : Plateformes : Herve Boghossian/Stephane Rives/Matthieu Saladin
http://www.lesvoutes.org


Plateformes : 
Herve Boghossian : guitare -electric- (List, Raster-Noton)
Stephane Rives   : saxophone soprano -acoustic- (Potlatch)
Matthieu Saladin : clarinette basse -amplified- (List)

http://www.list-en.com
http://www.raster-noton.de
http://www.potlatch.fr
http://www.stephanerives.net

 Les Voutes 19 rue des Frigos 75013 Paris
 (ex: 91 Quai Panhard & Levassor, ex : 91 Quai de la gare)
 Lignes Metro : 14 Meteor - 6 Quai de la Gare
 Lignes Bus : 89 - 62

and still :

18.03.05 / 03.04.05 Glassbox* , Paris (fr)
:: exhibition : Steinbruchel "Opaque" - 2003
(+ exhibition of Dominique Blais "Deaf Room"- 2005)
http://www.glassbox.be

* ligne 3 m° Parmentier  (rue oberkampf next to the "Nouveau Casino" venue)
.


all the best 

rv 


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[/END]

[/ini]
[/dex]
[/oto]
[/nil]
[/ddd]
[/rem]
[/ins]
[/dub]
[/umi]
[/esp]
[/end]

99.9% sinewaves and white noise

>> reviews
Mugen is a project by Alessandro Canova, who also runs his own
Pachinkostudio label. To date he has six releases on offer, of
which '[/end]' is the latest. He works with a limited set of
soundsources: sine waves and white noise. That may sound a bit too
much like Ryoji Ikeda, and yes, Mugen seems especially inspired by
the 'Matrix' release of Ikeda but luckily he finds enough ways of his
own to create something that may indeed not be top-new and
innovative, nevertheless he has a couple of interesting pieces to
offer. Maybe eleven is a bit too much, even when the tracks are
rather concise, but sometimes the pieces are a bit ambient, hoovering
in various frequencies available in his sine-waves, moreover there
are also pieces of rhythm, and here Mugen seems to expand his ears to
the world of minimal techno, such as in '[/dub]', which seems to be a
pastiche of Pan Sonic rhythms and Ikeda's sine waves. Mugen's sound
might be a bit too late, but a couple of years ago it would have
fitted nicely along the microwave tag, which nobody uses anymore, so
that might be a bit of a dead-end.
However, he presents enough variation in his pieces to make '[/end]'
a very nice CDR indeed. Frans de Waard on Vital Weekly

Se l'estetica della confezione può essere indicativa di affinità
elettive, e credo lo sia, allora di fronte a questo CD non è dato
pensare che alla Raster Noton, e a quel mondo di microsuoni, onde
sinusoidali e minimal techno che ha fatto la fortuna dell'etichetta
tedesca. L'ascolto, e le vicende passate di Alessandro Canova (in
arte Mugen), confermano questo dato di fatto. "[/end]" giunge dopo un
periodo di intensa attività, e ricco di soddisfazioni, con le
esibizioni a Londra per "The New Italian Futurists" e a Parigi
per "Batofar cherche l'Italie", entrambe nel 2002, e dopo la lunga
permanenza in Giappone dell'anno seguente. L'esperienza giapponese
dev'essere stata quanto mai stimolante, vista l'importanza che
l'arcipelago del `sol levante' riveste per l'artista - importanza
individuabile in ogni sua espressione: nel nome che si è imposto come
in quello scelto per designare il suo sito web.
Caratterizzato da titoli a volte intelligibili e altre ben chiari, il
CD rappresenta un viaggio volto a riproporre il mood minimale del
musicista, fatto di sibili, ronzii e sottili tessiture ritmiche,
garantito in una sua purezza quasi priva di scorie (99,9% sinewaves +
white noise). Le undici tracce del CD - o installazioni
audio/sonorizzazioni, secondo la definizione dello stesso Canova -
rappresentano altrettante variazioni sul medesimo tema, a
dimostrazione di come le permutazioni, pur all'interno di un
approccio estremamente minimale, possano essere infinite. Va anche
notato l'emergere di un certo savoir-faire, certamente estraneo alle
precedenti produzioni, che denota un ulteriore passo avanti verso la
maturità definitiva (al lettore dare al termine la valenza che
preferisce: positiva o negativa).
Direi che il Mugen tornato dal `pellegrinaggio' in Oriente è più
determinato e più rifinito, in definitiva più attento sia ai
particolari sia al risultato complessivo, e vedo "[/end]" come un
traguardo importante, lo stesso Canova ne parla come della `fine di
un periodo', ma anche come un inizio volto al raggiungimento di nuovi
obiettivi. D'altronde basta invertire la programmazione dei brani e
il gioco è fatto. Etero Genio on Sands Zine

More infos: http://www.pachinkostudio.com/
Orders: http://www.microsuoni.com/labels/pachinkostudio.html
Booking and contacts: xxxx@xxxxxxxxxxxxxx.xxx (please put Mugen in the 
subject line)

Alessandro 


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Date: Wed, 23 Mar 2005 23:32:32 -0500 (EST)
From: Neil Wiernik <xxxx@xxxxxxxx.xxx>
Subject: [microsound] NAW AND FRIENDS LIVE  APRIL 1ST 2005
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PRESS RELEASE:

APRIL 1st 2005 Noise Factory Records will be holding another
one of its  artist showcase series at the Casa Del Popolo. This time around Noise Factory
presents label artist NAW  performing live along side 2 of his favorite
local Montreal electronic music making collectives; Le-son666's very own
INTERCOM and Panospria's ARGON FLOOZY.
The night will be a FREE no frills but all thrills type of evening and
promisses to feature all new material by these 3 local montreal electronic music talents.
so make sure to come out and get your chin scratching, head bobbing,
body moving, feet shuffeling thing on FRIDAY APRIL 1 2005 at the Casa Del
Popolo 4873 St-Laurent, show time is 9pm.

------------------------------------------------------------------------------------------------------------
FRIDAY APRIL 1st 2005

Noise Factory Records brings you another night of free live music

featuring live performances by:

NAW - gearing up for yet another new release this time on the newly
founded quebec city label pertin_nce, as well as an up comming appearence
at this years SONAR festival in barcelona spain, NAW will once again
showcase his own personal
take on post electronic dance music featureing all new never heard befor
material, so get ready to have your dancing feet on and your head ready
for some bobbing as you never really know what to expect from a live set
by this artist.

also appearing on this special night will be 2 of naws personal favorite
local artists:

INTERCOM - le-son666's very onw electronic trio will showcase new
digital beats and crunchy noises, dancing or trying-to-dance is recommended.

ARGON FLOOZY - panospria's newset sextet project will
construct and manipulate a sonic whirlpool of moody music and dense
soundscapes with their unusual instruments and strange techniques.

and rounding out the nigths entertainment will be last minute special
guest mp3 dj selector DJ NAWPOD
NAWPOD will be helping to keep the party going before, after and in
between the live musical acts for the evening with various selections from
canadian indie mp3 netlabels.

when:
FRIDAY APRIL 1 2005
where:
CASA DEL POPOLO,
4873 St-Laurent
time: 9pm
how much:  FREE

for more info visit: http://www.noisefactoryrecords.com
contact xxx@xxxxxxxxxxxxxxxxxxx.xxx  or xxx@xxxxxx.xxx
------------------------------------------------------------------------------------------------------------


BIOS/INFO

NOISE FACTORY RECORDS
http://www.noisefactoryrecords.com
Taken from various interviews with Joe English, Noise Factory Records the
man behind the label:  "All roads lead back to Joy Division. They were the
most influential band during my teen years. From that point, everything
else fell into place. At one point I was so into electronic industrial
music that I began adopting the anti-guitar philosophy of Test Department.
That didnt last long. The next major influence came with David Sylvians
Secrets of the Beehive. I suppose these two musical styles represent the
scope of what would become Noise Factory Records. As for the Noise
Factory, it began as a college radio show on CHRY during the early 90s.
The show played mainly industrial, electronic and ambient music. We had a
couple of parties under the Noise Factory moniker, but once we graduated
university it all kind of ended. Life began to play its cruel little game.
I got a job at IBM and hated every day. So I started the label in 1996. I
knew nothing about running a label, and I had no contacts but I had a good
friend that was in a band, and wanted to put out an album. It made sense
at the time and it still makes sense."
"The Noise Factory is not made up of musicians or former record
executives. The Noise Factory came into existence out of a need and desire
for something new. We truly believe the music we represent is some of the
most wonderful and beautiful music currently being made. Unlike many indie
labels we offer a different viewpoint, one of the music lover and
consumer."

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 clevermusic, pertin_nce, and his
follow up full length to his 2002 noise factory release called green
nights orange days. naw has recently returned from tours in france,
germany, and canada. to co-enside with his recent releases on noise
factory and clevermusic and plans to return to europe this summer for more
tours including a performance at the now legendary sonar festival in
barcelona, spain. naw is currently preparing a new release titled terrain
vague for the pertin_nce label out of quebec city due for release in early
April 2005.

INTERCOM
http://www.le-son666.com/intercom

The electronic trio intercom will showcase new digital beats and
crunchy noises (some of it could appear on their upcoming full-lenght)
along with radical reworkings of their first self-titled cd.
Dancing/trying-to-dance is recommended. And be warned: any boring
chin-strokers will be shot on sight. Okay?


Argon Floozy
http://www.panospria.com/

A local sextet mostly comprised of members from the Panospria collective,
Argon Floozy is their latest group project since Kokoro No Jojishi in
2003. On this evening they will construct and manipulate a sonic whirlpool
of moody music and dense soundscapes with their
unusual instruments and strange techniques.


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From ???@??? Thu Mar 24 00:56:58 2005
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Date: Thu, 24 Mar 2005 01:56:46 +0100
From: pachinkostudio <xxxx@xxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] Usb-midi controller info
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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Ciao Marco,

if you are on a budget check out the Behringer BCF2000
http://www.behringer.com/BCF2000/index.cfm?lang=ENG

ale***

---
http://www.pachinkostudio.com/
http://www.12k.com/term/term10.htm

----- Original Message ----- 
From: "Marco Messina" <xxxxxxxxxx@xxxxxxxx.xx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Wednesday, March 23, 2005 4:24 PM
Subject: [microsound] Usb-midi controller info


Hello all,

I¹ m looking for a usb-midi controller with motorized fader and knobs, have
you got any suggestion?

Thanks in advance

marco messina 


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From ???@??? Wed Mar 23 22:31:53 2005
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From: punck <xxxx@xxxxx.xxx>
Subject: [microsound] ctrlaltcanc records new mp3 release
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Hi all
a new  mp3 release from :
CtrlAltCanc Records
http://www.ctrlaltcanc.tk


ctrl21: Andrea Marutti: Seven to Go

For Your Ears Only #1 // Hai Paura? // Wall of Sound // For Your Ears Only
#2 // My Froggy Friend // Am I a Field Recordist? // Calling for Help
All music performed and recorded by Andrea Marutti in March 2005 at Lips
Vago Digital Studio and at Pergola Mindcafe, Milan, Italy.

Voice on Hai Paura? courtesy of Patrizia Oliva.



Free to download here:

http://www.ctrlaltcanc.tk



Thanx a lot for your time

Have a nice day



Ctrl+Alt+Ciao

Adriano



feedback necessary



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From ???@??? Wed Mar 23 19:02:39 2005
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http://www.nypl.org/press/disco.cfm


On Mar 23, 2005, at 1:45 PM, Kim Cascone wrote:

> microsound anagram: disco mourn
> wow...now there's a fnord subliminal! ;)
>
>
> ---------------------------------------------------------------------
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>
>



www.seasonalbk.net
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From: bruce tovsky <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] disco mourn?
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i can relate to "indoor scum"
b

On Mar 23, 2005, at 1:45 PM, Kim Cascone wrote:

> microsound anagram: disco mourn
> wow...now there's a fnord subliminal! ;)
>
>
> ---------------------------------------------------------------------
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> website: http://www.microsound.org
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>
>
bruce tovsky
www.skeletonhome.com


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microsound anagram: disco mourn
wow...now there's a fnord subliminal! ;)


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From ???@??? Wed Mar 23 18:05:10 2005
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From: Paulo Mouat <xxxxxxxxxx@xxxxxxxx.xxx>
Subject: RE: [microsound] Fibonacci in music
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> From: Richard Zvonar
> Interesting. Thanks for pointing that out.
> 
> After a little informal investigation it appears that 
> Fibonacci converges a little more quickly than other series, 
> but by the 10th term or so they're all pretty close.
> 
> Do you have any pertinent references?

Not really.  I got that from experimenting with Mathematica.

//p
http://www.interdisciplina.org/00.0/


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From ???@??? Wed Mar 23 17:52:37 2005
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Subject: Re: [microsound] Re: Call for Submissions
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Probably not - although, depending on the kind of field being recorded,
there could be a kind of 'simstim' being in someone else's shoes aspect to
it... 

It's a little strange sometimes hearing location recordings as if there is
nobody there.  Though perhaps no stranger than seeing documentary footage
without thinking about the fact that there is a cameraman there, you can
imagine that the potential sense of unease is highly context dependent.  It
strikes me that there is a great potential for creative exploration around
this issue, and related issues of surveillance, narrative & documentary /
fiction...

And of course, there are many ways to listen.

On 23/3/05 7:24 am, "{ brad brace }" <xxxxxx@xxxxxx.xxx> wrote:

> 
> interesting thread... while the field-recording listeners
> may wish to temporarily/partially locate themselves in the
> recording/place/time/duration, it's unlikely that they
> simultaneously also imagine/wish themselves making the
> recording (or frequently acknowledging the audio
> machinations)... isn't it?
> 
> 
> http://63.170.215.11:8000
> http://bbrace.laughingsquid.net/undisclosed.html
> 
> 
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From ???@??? Wed Mar 23 16:33:05 2005
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At 10:41 PM -0500 3/22/05, Paulo Mouat wrote:

>The division of two consecutive terms of a sequence with any two natural
>numbers as starting points and where terms are determined through addition
>of the two previous terms will eventually tend to the golden section.  This
>is not intrinsic to the Fibonacci series and is probably the reason why the
>golden section is widely found in nature.

Interesting. Thanks for pointing that out.

After a little informal investigation it appears that Fibonacci 
converges a little more quickly than other series, but by the 10th 
term or so they're all pretty close.

Do you have any pertinent references?
-- 

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

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From ???@??? Wed Mar 23 18:07:37 2005
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From: Wakefield <xxxxxx@xxxxxxx-xxxxx.xxx>
>
> Fair enough!  Perhaps I read the opening statement 'Somewhere in the
> spectrum between Musique Concrete and Phonography' as 'Somewhere in the
> field beyond Musique Concrete and Phonography'.  I fully understand the
> logic of the passive location recording in phonography, and the benefit
> of avoiding preconceived ideas of music. But I think it may be worth
> unfolding my comment a little.

This conversation ended up drifting onto the phonography yahoogroups list
and I posted my response there.  It all boiled down to semantics of what
is active and what is passive as well as what is non-interfering, etc.  My
explanation was that the call for submissions was being sent out to a
variety of music boards where some people might not understand what
phonography or a field recording is and it was a general guidance for the
naive.  Phonography artists take great time and thought energy to the
process such as microphone placement, movement of the microphone(s), etc.
but I was trying to differentiate this from someone making interesting
sounds for the purpose of the recording or adding composed music to the
recordings.

Thank you for the commentary and critique of my wording.  And sorry to
have misinterpretted your brief post before.

Cheers,
Frederic


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From ???@??? Wed Mar 23 15:50:06 2005
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Subject: Re: [microsound] MILLE PLATEAUX - FORCE INC - RITORNELL
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on 3/23/05 8:08 AM, swen emmerling at xxxxxxxxx@xxxxxx.xx wrote:

> those labels seem to be gone foreever. they are selling all the remainig
> CDs at ebay.de . 50000 CDs for 50000 EUR
> 
> get them here:
> http://tinyurl.com/58s3r
> 
> Swen

actually not, the labels are under new management from what i hear and
organizing to release new material.. just curious if the artists are to
receive anything from this auction ? sad if not. good deal for the buyer
however.


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From ???@??? Wed Mar 23 15:25:05 2005
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Date: Wed, 23 Mar 2005 16:24:46 +0100
From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] Usb-midi controller info
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--Boundary_(ID_mzkL53hA+HE49SEeXnZ/VA)
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Hello all,

I¹ m looking for a usb-midi controller with motorized fader and knobs, have
you got any suggestion?

Thanks in advance

marco messina
[] [] [] [] [] []
http://www.mousikelab.com/
http://www.libreimpression.com/
http://www.novenove.it/
http://www.folderstudio.com/
[] [] [] [] [] []

--Boundary_(ID_mzkL53hA+HE49SEeXnZ/VA)--

From ???@??? Wed Mar 23 15:24:24 2005
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interesting thread... while the field-recording listeners
may wish to temporarily/partially locate themselves in the
recording/place/time/duration, it's unlikely that they
simultaneously also imagine/wish themselves making the
recording (or frequently acknowledging the audio
machinations)... isn't it?


http://63.170.215.11:8000
http://bbrace.laughingsquid.net/undisclosed.html


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those labels seem to be gone foreever. they are selling all the remainig 
CDs at ebay.de . 50000 CDs for 50000 EUR

get them here:
http://tinyurl.com/58s3r

Swen
-- 
http://swen.antville.org

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From ???@??? Wed Mar 23 12:40:07 2005
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Date: Wed, 23 Mar 2005 13:38:56 +0100
From: Tobias Schmitt <xxxxxxx@xxxxxxxxxxx.xx>
Subject: [microsound] the curmbox will open its doors shortly.
To: xxx@xxxxxxxxxxx.xxx, xxxxxxxxxx@xxxxxxxxx.xxx, xxxxx@xxxxxxxxxxx.xxx,
 xxxxx@xxxxxxxxxxx.xxx, xxxxxxxx_xxxx@xxxxxxxxxxx.xxx, xxxxx@xxxxxxxxxxx.xxx,
 xxxxxxxxxxxxxxxxx@xxxxxxxxxxx.xxx, xxx_xxxxxxx@xxxxxxxxxxx.xxx,
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curmbox - a venue dedicated to electronic, experimental, improvised 
music and noise will open its doors shortly in frankfurt (germany):
http://curmbox.de

-> artists interested in performing can get in touch - please reply to 
the sender, not the list.

thank you for your attention

ts

.....: suspicion breeds confidence - acrylnimbus
.....: http://acrylnimbus.de


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From ???@??? Wed Mar 23 03:41:06 2005
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From: Paulo Mouat <xxxxxxxxxx@xxxxxxxx.xxx>
Subject: RE: [microsound] Fibonacci in music
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> From: Richard Zvonar
> P.S. The Fibonacci series (1, 1, 2, 3, 5, 8, 13, 21...) is 
> formed by adding two consecutive terms to derive the next 
> term in the series (therefore 13 + 21 gives the next term 
> 34). The Golden Mean (or Golden Proportion or Ratio) may be 
> approximated by dividing consecutive Fibonacci numbers (13/21 
> = 0.61905..., 21/13 = 1.61538...).

The division of two consecutive terms of a sequence with any two natural
numbers as starting points and where terms are determined through addition
of the two previous terms will eventually tend to the golden section.  This
is not intrinsic to the Fibonacci series and is probably the reason why the
golden section is widely found in nature.

> The higher up the series the closer the approximation to the 
> proportion, which is commonly represented as "phi" and equals 
> 1.6180339887499... or -0.61803398874989...  For more details 
> and an explanation of why phi has two values, see:
> 
> http://www.vashti.net/mceinc/golden.htm

A more complete description may be found at

http://mathworld.wolfram.com/GoldenRatio.html


//p
http://www.interdisciplina.org/00.0/


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From ???@??? Tue Mar 22 23:41:59 2005
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From: grain of sound <xxxx@xxxxxxxxxxxx.xxx>
Subject: [microsound] draftank | my fun_Out now on Ristretto
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Here´s the latest from the Grain of Sound´s sister-label:
Ristretto is happy to announce 2 brand new releases.





 draftank - "orange book"
 rist02/ 2005
 5" cdr


> "Orange Book" is the first full-lenght from Draftank. Following 
two tracks on compilation releases by french label Effervescence 
and on our portuguese sister-label Grain of Sound, Draftank goes 
for the long-playing.

Using one digital turntable and one minidisc this is Nuno Moita´s 
solo effort on experimental electronica. A cdr release with 
enhanced content so you will also find one video in the quicktime 
format: 8 minutes of super8 found-footage digitally transfered to 
black & white and edited by Nuno Moita.

Check all the info about Draftank and hear one complete track 
taken from "Orange Book" at:



http://www.grainofsound.com/ristretto
http://www.grainofsound.com/nunomoita




 my fun - "sunday best"
 rist03/ 2005
 3" cdr



> My Fun (aka Justin Hardison) in his own words:

"I'm a sound artist/musician currently living with my lovely wife in 
London (the cat's on the way!). I've released work for a number of 
years under different names except Justin Hardison and more 
recently I've been exploring the use of field recordings and 
electronic processing of more acoustic sounds in my work. With 
the aid of a couple of small microphones, sampling, and assorted 
software sound generation, My Fun aims to create narrative work 
without being dependent on a particular musical genre determining 
the sound of the final output. In addition, I was the electronic 
music editor of 'levelheadedmusic.com' and 'thelandof' internet 
zine before making the decision to focus on my own work. 

'Sunday Best', which will most likely be my last beat structured 
material for a long while, features tracks constructed of field 
recordings, electronics, samples and a few beats and hints at the 
direction that i'm headed for new material".

A complete mp3 track taken from "Sunday Best" is ready for free 
download at the Ristretto website. 




>>> + info:


http://www.thelandof.org
http://www.grainofsound.com/ristretto







enjoy.
thank you for reading. 



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From ???@??? Tue Mar 22 22:54:15 2005
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Date: Tue, 22 Mar 2005 16:56:25 -0600
From: David Powers <xxxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] laptron
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Yes, but it missed the best one of all - McSound (tm)!
;)

~David

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

>>> xxxxxx.xxxxx@xxxxxxx.xx 03/22/05 04:38PM >>>
According to the results from the Andy's anagram solver
there could be many new genres... 

Daniel Dugas


http://www.ssynth.co.uk/~gay/anagram.html 
Anagram Solution
Your query was microsound, with a word limit of 2, a and I
included.

Here are some phrases that can be made from that query:

cion dorsum
coin dorsum
coir mounds
coir osmund
coirs mound
comous rind
coni dorsum
conium dors
conium rods
conium sord
coniums dor
coniums rod
conoid rums
conoids rum
coon murids
coons murid
cor dominus
cords onium
corium dons
corium nods
cormoid nus
cormoid sun
cormoid uns
cormous din
corn odiums
corn sodium
corns duomi
corns odium
cornu misdo
cornus modi
cousin dorm
crimson duo
crimson oud
crimson udo
crud simoon
cruds nomoi
crus domino
crus monoid
cud morions
cuds morion
cum indoors
cum sordino
cumin doors
cumin odors
cumin ordos
cumin roods
cumins door
cumins odor
cumins ordo
cumins rood
cur dominos
curd simoon
curds nomoi
curs domino
curs monoid
din cormous
disc unmoor
disco mourn
domino crus
domino curs
dominos cur
dominus cor
dominus orc
dominus roc
donor music
dons corium
doom incurs
dooms incur
dooms runic
door cumins
door mucins
doors cumin
doors mucin
dor coniums
dorm cousin
dors conium
dors muonic
dorsum cion
dorsum coin
dorsum coni
dorsum icon
doum orcins
doums orcin
duci morons
duo crimson
duo microns
duomi corns
duomi scorn
duos micron
duros monic
icon dorsum
incur dooms
incur moods
incur sodom
incurs doom
incurs modo
incurs mood
indoor scum
indoors cum
micro nodus
micro sound
micron duos
micron ouds
micron udos
microns duo
microns oud
microns udo
micros undo
minor scudo
misdo cornu
modi cornus
modo incurs
modus orcin
mondos uric
monic duros
monic sudor
monoid crus
monoid curs
mood incurs
moods incur
moods runic
morion cuds
morion scud
morions cud
moron scudi
morons duci
mound coirs
mounds coir
mourn disco
mourn sodic
mourns odic
mucin doors
mucin odors
mucin ordos
mucin roods
mucins door
mucins odor
mucins ordo
mucins rood
mucoid sorn
mucoids nor
mucors nodi
muonic dors
muonic rods
muonic sord
murid coons
murids coon
music donor
music rondo
nodi mucors
nods corium
nodus micro
nomoi cruds
nomoi curds
nor mucoids
nordic sumo
nus cormoid
odic mourns
odium corns
odium scorn
odiums corn
odor cumins
odor mucins
odors cumin
odors mucin
onium cords
onium scrod
orc dominus
orcin doums
orcin modus
orcins doum
ordo cumins
ordo mucins
ordos cumin
ordos mucin
osmic round
osmund coir
oud crimson
oud microns
ouds micron
rind comous
roc dominus
rod coniums
rods conium
rods muonic
rondo music
rood cumins
rood mucins
roods cumin
roods mucin
round osmic
rum conoids
rums conoid
runic dooms
runic moods
runic sodom
scorn duomi
scorn odium
scrod onium
scud morion
scudi moron
scudo minor
scum indoor
simoon crud
simoon curd
sodic mourn
sodium corn
sodom incur
sodom runic
sord conium
sord muonic
sordino cum
sorn mucoid
sound micro
sudor monic
sumo nordic
sun cormoid
udo crimson
udo microns
udos micron
undo micros
unmoor disc
uns cormoid
uric mondos>

On 
 Brian Klein <xxxxxxx@xxxxx.xxx> wrote:
> maybe if people added or subtracted syllables from the
> word microsound, that could be another genre, too.
> 
> 
> --- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> > the birth of yet another non-genre:
> >
> http://www.villagevoice.com/music/0511,tzou,62094,22.html 
> > 
> > 
> >
>
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> > 
> > 
> 
> 
>                 
> __________________________________ 
> Do you Yahoo!? 
> Yahoo! Small Business - Try our new resources site!
> http://smallbusiness.yahoo.com/resources/ 
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From ???@??? Tue Mar 22 22:39:09 2005
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According to the results from the Andy's anagram solver
there could be many new genres... 

Daniel Dugas


http://www.ssynth.co.uk/~gay/anagram.html
Anagram Solution
Your query was microsound, with a word limit of 2, a and I
included.

Here are some phrases that can be made from that query:

cion dorsum
coin dorsum
coir mounds
coir osmund
coirs mound
comous rind
coni dorsum
conium dors
conium rods
conium sord
coniums dor
coniums rod
conoid rums
conoids rum
coon murids
coons murid
cor dominus
cords onium
corium dons
corium nods
cormoid nus
cormoid sun
cormoid uns
cormous din
corn odiums
corn sodium
corns duomi
corns odium
cornu misdo
cornus modi
cousin dorm
crimson duo
crimson oud
crimson udo
crud simoon
cruds nomoi
crus domino
crus monoid
cud morions
cuds morion
cum indoors
cum sordino
cumin doors
cumin odors
cumin ordos
cumin roods
cumins door
cumins odor
cumins ordo
cumins rood
cur dominos
curd simoon
curds nomoi
curs domino
curs monoid
din cormous
disc unmoor
disco mourn
domino crus
domino curs
dominos cur
dominus cor
dominus orc
dominus roc
donor music
dons corium
doom incurs
dooms incur
dooms runic
door cumins
door mucins
doors cumin
doors mucin
dor coniums
dorm cousin
dors conium
dors muonic
dorsum cion
dorsum coin
dorsum coni
dorsum icon
doum orcins
doums orcin
duci morons
duo crimson
duo microns
duomi corns
duomi scorn
duos micron
duros monic
icon dorsum
incur dooms
incur moods
incur sodom
incurs doom
incurs modo
incurs mood
indoor scum
indoors cum
micro nodus
micro sound
micron duos
micron ouds
micron udos
microns duo
microns oud
microns udo
micros undo
minor scudo
misdo cornu
modi cornus
modo incurs
modus orcin
mondos uric
monic duros
monic sudor
monoid crus
monoid curs
mood incurs
moods incur
moods runic
morion cuds
morion scud
morions cud
moron scudi
morons duci
mound coirs
mounds coir
mourn disco
mourn sodic
mourns odic
mucin doors
mucin odors
mucin ordos
mucin roods
mucins door
mucins odor
mucins ordo
mucins rood
mucoid sorn
mucoids nor
mucors nodi
muonic dors
muonic rods
muonic sord
murid coons
murids coon
music donor
music rondo
nodi mucors
nods corium
nodus micro
nomoi cruds
nomoi curds
nor mucoids
nordic sumo
nus cormoid
odic mourns
odium corns
odium scorn
odiums corn
odor cumins
odor mucins
odors cumin
odors mucin
onium cords
onium scrod
orc dominus
orcin doums
orcin modus
orcins doum
ordo cumins
ordo mucins
ordos cumin
ordos mucin
osmic round
osmund coir
oud crimson
oud microns
ouds micron
rind comous
roc dominus
rod coniums
rods conium
rods muonic
rondo music
rood cumins
rood mucins
roods cumin
roods mucin
round osmic
rum conoids
rums conoid
runic dooms
runic moods
runic sodom
scorn duomi
scorn odium
scrod onium
scud morion
scudi moron
scudo minor
scum indoor
simoon crud
simoon curd
sodic mourn
sodium corn
sodom incur
sodom runic
sord conium
sord muonic
sordino cum
sorn mucoid
sound micro
sudor monic
sumo nordic
sun cormoid
udo crimson
udo microns
udos micron
undo micros
unmoor disc
uns cormoid
uric mondos>

On 
 Brian Klein <xxxxxxx@xxxxx.xxx> wrote:
> maybe if people added or subtracted syllables from the
> word microsound, that could be another genre, too.
> 
> 
> --- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> > the birth of yet another non-genre:
> >
> http://www.villagevoice.com/music/0511,tzou,62094,22.html
> > 
> > 
> >
>
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maybe if people added or subtracted syllables from the
word microsound, that could be another genre, too.


--- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> the birth of yet another non-genre:
>
http://www.villagevoice.com/music/0511,tzou,62094,22.html
> 
> 
>
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the birth of yet another non-genre:
http://www.villagevoice.com/music/0511,tzou,62094,22.html


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Hi,

Fair enough!  Perhaps I read the opening statement 'Somewhere in the
spectrum between Musique Concrete and Phonography' as 'Somewhere in the
field beyond Musique Concrete and Phonography'.  I fully understand the
logic of the passive location recording in phonography, and the benefit of
avoiding preconceived ideas of music. But I think it may be worth unfolding
my comment a little.

I also understand that the field recordist has an activity in location
choice, capture time choice, microphone choice (including peripherals),
microphone placement, and in some cases microphone movement and in-the-field
editing.  While this is already more than just passive, I wondered how
interesting it might be to increase this activity somewhat, whether through
extended physical movement, though interaction with the environment etc, and
these need not be necessarily orchestrated.  There can be a sense of
something being missing in many passive field recordings, particularly in
small group social environments; whilst on the other hand I have heard
several field recordings in which the recordists were sonically present that
had a powerful and intriguing impact.  An example off the top of my head is
Katharine Norman's conversation with Hildegard Westerkamp whilst trampling
through woods near to Vancouver, on the CD accompanying Norman's Sounding
Art.  I don't believe this kind of work really fits into what people
understand by Phonography/Soundscape/Acoustic Ecology etc nor Musique
Concrete.

Best of luck for your compilation,

Graham


On 21/3/05 3:50 pm, "frederic yarm" <xxxx@xxxxxx.xxxxx.xxx> wrote:

> 
> From: Wakefield <xxxxxx@xxxxxxx-xxxxx.xxx>
>> I don't understand the necessary logic of point 3.  My preference would
>> be to explore the medium exactly in that area.
>> 
>>> #3 One point about the field recording aspect of it is stressing that
>>> the person recording is not part of the recording in orchestrating or
>>> making the sounds, only a passive observer and documenter (obviously,
>>> just being there has an effect albeit hopefully minor).
> 
> The point as written follows the traditional phonography definition of
> what a field recording is.
> 
> The logic behind stipulating this is to avoid the composer's preconceived
> ideas of music if there is someone orchestrating or making the noises
> intentionally for the recording.  The composer's job is to record the
> sounds (passive)  and then transform them into his or her own work
> (active).  This process sets it apart from other types of sound art.
> 
> The initial concept of this compilation stemmed from a conversation
> between the label owner and myself in regards to a compilation I had just
> participated in and felt was a good academic learning experience since it
> was rather removed from what I had ever done whereas for others, it was
> commonplace.  
> 
> Feel free to accept the challenge as the rules of the compilation describe
> it and participate.  Otherwise, there are plenty of good compilations out
> there with calls for submissions that fall out of this category and these
> rules.
> 
> Cheers,
> Frederic
> 
> 
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Intricate Maximals :: label compilation :: www.audiobulb.com

THE MILK FACTORY (UK): ".... it is this very vision that shapes this 
collection, crafting every particular angle of each track. Intricate 
Maximals is no short of impressive and continues to show Audiobulb as an 
imprint to rely on. 4.5 / 5"

BOOMKAT (UK): "Featuring something to please all electronic cognoscente's 
palates, 'Intricate Maximals' showcases minimal style clicks and fizz with 
Autistici's 'Nurture Nature', chopped vocals and drifting digital proclivity 
on Diagram of Suburban Chaos' 'So Gone (Ventramix)' and the lint-like, half 
captured crackle of Jan Jelinek through Robin Judge's 'Fall'. Elsewhere 
Taavi Tulev comes across like a less breaks obsessed Keith Tenniswood with 
the penetrating beats and giddy percussion of 'Tuhikli'. Check. "

IGLOO MAGAZINE (USA): "Containing eighteen tracks in all, Intricate Maximals 
compresses several dozen hours worth of musical motifs and ideas into eighty 
minutes of electronic expression. What keeps Audiobulb's latest compilation 
interesting is the diversity of approaches and sonic creativity. There's a 
lot of ideas here and most of them are executed with complex aplomb. 
Excellent."

DE:BUG (Germany): " Every track has a real body with tons of ideas and crazy 
grooves - torn apart but with a swinging attitude and most importantly the 
whole thing holds together very well."

EM411 (USA): "Conclusions? Awesome production all round, and some real 
instantly memorable gems. The rest take more work and persistence but reward 
with some beautiful mood-enhancing music. Good work Audiobulb."

Cut Up Media (Holland): " Music moves, scours, caresses and agitates. After 
every turn we discover new sounds, new emotions also. It is particularly 
stimulating and pleasant as the artists stretch the listener with their 
work. Intricate maximum can measure themselves with the best of more 
established electronic labels such as Warp, Rephlex or Planet Mu."


Intricate Maximals features the sublimely dubbed-out and glitched-in 
'Latticel Work' by Calika as featured in the online mp3 section of The Wire.


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From: Jair-Rohm Parker Wells <xxx@xxxxxx.xx>
Subject: [microsound] Exquisite Noise
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--Boundary_(ID_VRzCkpmUKLPYP89V4FiqWg)
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High all! Exquisite noise has been restocked on cdBaby 
(http://cdbaby.com/cd/jairrohmpw). So those of you who have been 
waiting to get a copy now's the time. For those of you who are 
interested in drones, noise and textual (rather than harmonic) 
organisation, check it out here: http://cdbaby.com/cd/jairrohmpw .


JPW

Hear and buy "Exquisite Noise" at:
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Hallo,
andrew benson hat gesagt: // andrew benson wrote:

> There has been a lot of talk about this on the Max/MSP
> list as well.  I imagine we'll be seeing some flying
> laptops in the near future.

And later long-haired male fans in the audience will play invisible
air laptops to your a(ms)bstract tunes. Personally I'd rather use
motion sensors in a Gameboy than in a laptop - less is more.

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

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>...
> How many of you microsounders are using AI algorithms, 
> and what have your experiences been?  Ever used neural 
> networks/second- and third-order Markov chains/genetic 
> algorithms/generative grammars/other?  

Hi David,

The GA has been my almost exclusive tool since 1998.  I use
a custom softsynth which allows me to breed new timbres,
thus freeing me up to act more as "gardener" more
"engineer".  I love it, but I admit that I don't really see
this as an "AI" approach.  A true AI approch would be
automation of the fitness function via training of neural
networks, etc.  When I have more time ;)

As a shameless plug, I utilized the GA approach heavily for
the more abstract tracks on "do" (Fallt, invalidObjects),
and the much more recent "Songs of the Watchmaker"
(Scarcelight).

-Wayne, aka "Later Days"




                
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There has been a lot of talk about this on the Max/MSP
list as well.  I imagine we'll be seeing some flying
laptops in the near future.

andrew 


--- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> this might be a way to become more 'performative'
> with a laptop:
> http://kernelthread.com/software/ams2hid/
> 
> 
>
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> 

Andrew Benson
www.cloud-machine.com


                
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From: slow sound system <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] april show : john chantler, function live at the foundry
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 FILETIME=[FE006550:01C52E74]

SLOW SOUND SYSTEM
LIE DOWN AND BE COUNTED

-------

THE FOUNDRY : 17 APRIL 2005 : 3-8PM

-------

'Quality avant chillage' BBCi
'Unadulterated bliss .' RESONANCE FM

-------

The slow sound system explores ambient listening, new electronica and pixel
manipulation.

This month we showcase new sounds from the Southern hemisphere. John
Chantler's delicate electro-acoustic avant-guitar and laptop excursions
reach us from Brisbane, via rural Japan and Tulse Hill. Fellow Oz expat
Function aka Matt Nicholson lays down mesmerizing psych-pop, microsonics and
deep, sleepy drones.

Resident djs iMax and Albert back up with digitals and soundscaping, plus we
have digital artworks and flash workouts from Janek Ropinsky. Full details
follow.

------

ARTIST BIOS

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

John Chantler is an exciting talent. Resident of Brisbane, rural Japan and
now South London, John has developed his sound from organic electronics to
his current interests in exploratory electro-acoustics, messy guitars and a
loose spin on rhythm.

John's acclaimed first album, Monoke was released on Lawrence English's
Room40 label in 2002. He's kept busy since then, with a limited edition
album on Piehead, Locked in Hands, curating a series of 10" vinyl for
Room40, an online release for Fat Cat (recorded with Japanese artists Saya,
Takashi Ueno and Koji Shibuya) and the beyond-underground 'Swedish Folksong
Project'.

John's performed alongside Mum, Janek Schaefer, DJ Olive, Ami Yoshida and
Taku Sugimoto. Just back from another Japanese trip, he also spins a mix of
psych-pop, electronica and krautrock at Waiting for the Picture Bus, a
bi-weekly session at Escape in Herne Hill.

'Melody on hammered strings . robust and driven' THE WIRE
'Monoke is the first in a series of essential recordings' THE MILK FACTORY
'Intelligent and subtle . maybe think Tortoise jamming with the Black Dog?'
SMALLFISH
'Nice slice of post-millennial electronica' PITCHFORKMEDIA
'Utterly absorbing and resonant work' FIRST PAST THE POST

------

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

Function is Matt Nicholson and an ever-shifting set of collaborators in
London, Melbourne and spaces in between. Function's sound is equally hard to
pin down, taking in ecstatic pop, microscopic soundwork, slices of
orchestral instrumentation and deep Eastern drones. Key reference points
include The Books, Ekkehard Ehlers, Fennesz, Pluramon, Philip Jeck, Sufjan
Stevens, Susumu Yokota, Rafael Toral or Town & Country.

Another busy artist - expect an online release for FatCat very shortly -
Matt has assembled 10 hours of soundtracks for the sacred art suites of
Advaitayana Buddhist Master Adi Da . for us he will be performing new
material solo, including manipulated improvisation of various acoustic
sources and field recordings culled from all over the globe. Expect
mesmerising, heartfelt, subtly orchestrated electro-acoustic collage.

'One of this year's most intriguing releases . an ambition to make something
entirely new out of a very tired form' THE DEEP END, ABC
'The finest album to emerge from Australia this year.  .this is magical
music, hot shit, serious, suffocating and sparse, and aesthetically
exquisite.' ADEQUACY.NET
'A stunning masterwork of intriguing musical delights' MONO.NET
'A subtle eclectic expansive epic' SCENE

------

RESIDENTS

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

------

DETAILS

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

xxxx@xxxxxxxxx.xxx
www.slowsound.net

------

CHECK

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

Ends

slow sound system
lie down and be counted

xxxx@xxxxxxxxx.xxx
http://www.slowsound.net

-----

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

-----
-----

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

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

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

-----
-----

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

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

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

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

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

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

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

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

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

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

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

-----

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



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From: Wakefield <xxxxxx@xxxxxxx-xxxxx.xxx>
> I don't understand the necessary logic of point 3.  My preference would
> be to explore the medium exactly in that area.
> 
> > #3 One point about the field recording aspect of it is stressing that
> > the person recording is not part of the recording in orchestrating or
> > making the sounds, only a passive observer and documenter (obviously,
> > just being there has an effect albeit hopefully minor).

The point as written follows the traditional phonography definition of
what a field recording is.

The logic behind stipulating this is to avoid the composer's preconceived
ideas of music if there is someone orchestrating or making the noises
intentionally for the recording.  The composer's job is to record the
sounds (passive)  and then transform them into his or her own work
(active).  This process sets it apart from other types of sound art.

The initial concept of this compilation stemmed from a conversation
between the label owner and myself in regards to a compilation I had just
participated in and felt was a good academic learning experience since it
was rather removed from what I had ever done whereas for others, it was
commonplace.  

Feel free to accept the challenge as the rules of the compilation describe
it and participate.  Otherwise, there are plenty of good compilations out
there with calls for submissions that fall out of this category and these 
rules.

Cheers,
Frederic


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Date: Mon, 21 Mar 2005 23:59:01 +0100
From: Davide Morelli <xxxx@xxxxxxxxxxxxx.xx>
Subject: [microsound] R: [microsound] AI in microsound
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You should read

Who is Listening?
By Gregory M. Rippin

he try to build an intelligent agent in PureData for musical improvvisation
with partial success

you can download it here
http://homepages.nyu.edu/~gmr222/interactiveMusic.html

Please keep me posted, because I planned to try do something similar one of
these days!

> -----Messaggio originale-----
> Da: david golightly [mailto:xxxxxxxx@xxxxxxx.xxx]
> Inviato: lunedì 21 marzo 2005 15.11
> A: xxxxxxxxxx@xxxxxxxxx.xxx
> Oggetto: [microsound] AI in microsound
>
>
> I'm starting to develop a set of AI algorithms to assist in live
> performance, which will (roughly speaking) analyze control
> messages that I
> send and, after a certain point, be able to generate their own control
> messages based on the patterns I used.  Eventually I'd like to design an
> algorithm to analyze a continuously changing audio texture on multiple
> levels and be able to reproduce similar, non-repeating textures.  I've
> started by giving my PD patch some various recordings of birdsong (of the
> eastern Wood Thrush) for analysis, hoping to tune it to be able
> to generate
> its own non-repeating woodthrush-like song.
>
> For discussion:  What AI algorithms are the most useful in microsound
> performance - in practice, not only in theory?  How many of you
> microsounders are using AI algorithms, and what have your
> experiences been?
> Ever used neural networks/second- and third-order Markov chains/genetic
> algorithms/generative grammars/other?  On what time scale
> (piece-structure,
> moment, sound-event, or microsound generation)? There was an interesting
> interview with Brian Eno back in the 1980's (with The Wire mag, I
> believe)
> where he expressed a desire for a musical "black box" that could produce
> music in a given style, a Beethoven black box, a Beatles black
> box, an Eno
> black box...  Beyond whatever proprietary concerns are involved, is this
> even achievable?  There's been a lot of talk of letting your
> laptop play a
> wave file vs. performing the music yourself, but does anyone have any
> experience teaching your computer to make desicions for you?
>
> Cf.:
> David Cope, Experiments in Musical Intelligence
> Eduardo Reck Miranda (though I find his experiments with cellular
> automata
> contrived and unconvincing)
> among others
>
> thanks,
> david
>
>
>
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this might be a way to become more 'performative' with a laptop:
http://kernelthread.com/software/ams2hid/


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From ???@??? Mon Mar 21 21:25:04 2005
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Date: Mon, 21 Mar 2005 13:24:16 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] install fest in Latin America
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Spanish: http://installfest.info/
English: http://installfest.info/default.en

looks interesting...please send/post this to other lists


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From ???@??? Mon Mar 21 19:31:02 2005
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Date: Mon, 21 Mar 2005 14:33:30 -0500
From: doug van nort <xxxx@xxxxx.xxxxxx.xx>
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 Issue 1374
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heya kathy

tis true i have been thinking about/doing network music for a little 
while now and particularly (recently) in
the context of the specific projects you are mentioning here....
i'd love to include the microsound list on such a project - especially 
since i too am predominantly a lurker
here and want to be a good lil community member.  the thing is how to 
include this large group of people
in a project that is intended to be (for example) point to point 
transmission of 8 channels of audio (where is
the intended audience and where is the space of interaction, etc.)  
i've got
some ideas and maybe one of them will even turn out to be good and 
feasible and i will invite the list and
all that...if people have done similar projects (large distributed 
network of participants who perform only in virtual
space interacting with a few participants in different physical spaces 
connecting their audio via broadband
connection.....or something of the sort....)
  and can point me to their work please email me off list and we'll 
discuss.

---doug

On Mar 17, 2005, at 9:50 PM, kathy kennedy wrote:

>> re: Microsound Performance Project?
> On Mar 17, 2005, at 3:26 PM, xxxxxxxxxx-xxxxxx-xxxx@xxxxxxxxx.xxx 
> wrote:
>
> This sounds like it was meant to happen.
> I think I know how this should get done.
>
> Pauline Oliveros has worked at this very kind of project of connecting 
> performers via digital networking for decades now. She was just in 
> Mtl. at the SAT, exploring the successful performances of 8 channel 
> broadband diffusion. We have been doing it through McGill here for a 
> while now. Pauline has also used  this format at RPI (Troy, NY) I 
> believe.
>
> I, having lurked for some time now, know that Tobias Van der Veen 
> should get right on it and make this happen. Doug Van der Nort, you 
> should help make it happen too!
>
> I'm done but would simply like to be remembered for having brought it 
> up first:-)
> xx
> kk
>
>
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From ???@??? Mon Mar 21 17:50:44 2005
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Date: Mon, 21 Mar 2005 12:50:35 -0500
From: david golightly <xxxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] Fibonacci in music
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 FILETIME=[7C508930:01C52E3E]

Yes, I suppose the "classic" example, where just absolutely everything's 
governed by Fibonacci/Golden Section is Bartok's "Music for Strings, 
Percussion and Celesta", especially the 1st movement, which was just covered 
to death in 20th century analysis classes at my music school.  It's true 
that artists, especially, for instance, renaissance-era painters as well as 
composers like Palestrina and classical architects (i.e. the Parthenon) all 
used the Golden Section, because of its "natural" proportion.  In fact, it's 
probably one of the best-known proportions out there.

I find, though, too often composers pick this tool up too quickly, and 
automatically cause their work to conform to these proportions, where others 
might in fact be better for a given piece.  It's almost *too* perfect - too 
easy to just apply these proportions whenever you're at a loss for form.  
Which is not to say that they can't still be used - just that not every 
piece, not every aesthetic experience is best organized in this way.  A more 
interesting approach would be, taking the natural inclination to experience 
things in accordance with the Golden Section, to play off that by skewing 
proportions so key events don't come when expected.  It's a little boring to 
be able to expect, for a 10 minute piece, that the climax will come at 6 
minutes and change, and find this again and again in piece after piece.

>From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: RE: [microsound] Fibonacci in music
>Date: Mon, 21 Mar 2005 09:32:12 -0800
>
>At 11:06 AM -0600 3/21/05, David Powers wrote:
>>Well, I don't know if you can "wear out" something that may not be 
>>directly accessible to the listener...  Composers often find inspiration 
>>from engaging in rather arbitrary mathematical games (fibonacci, but also 
>>serialism, fugue, canon, etc.).  I think the real question is whether such 
>>techniques are useful springboards for the composer's imagination.
>
>The Fibonacci series is also a natural phenomenon that gives shape to many 
>living things and that forms the basis for the Golden Proportion. Humans 
>seem to find this proportion universally pleasing and therefore the use of 
>Fibonacci proportions is a natural and easy way to create structures that 
>"work" aesthetically.
>
>
>P.S. The Fibonacci series (1, 1, 2, 3, 5, 8, 13, 21...) is formed by adding 
>two consecutive terms to derive the next term in the series (therefore 13 + 
>21 gives the next term 34). The Golden Mean (or Golden Proportion or Ratio) 
>may be approximated by dividing consecutive Fibonacci numbers (13/21 = 
>0.61905..., 21/13 = 1.61538...).
>
>The higher up the series the closer the approximation to the proportion, 
>which is commonly represented as "phi" and equals 1.6180339887499... or 
>-0.61803398874989...  For more details and an explanation of why phi has 
>two values, see:
>
>http://www.vashti.net/mceinc/golden.htm
>--
>
>______________________________________________________________
>Richard Zvonar, PhD
>(818) 788-2202
>http://www.zvonar.com
>http://salamandersongs.com
>http://ill-wind.com



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From ???@??? Mon Mar 21 17:40:41 2005
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--Boundary_(ID_GUpo8Wq3JJL4iG5yVGwKTA)
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At 11:06 AM -0600 3/21/05, David Powers wrote:
>Well, I don't know if you can "wear out" something that may not be 
>directly accessible to the listener...  Composers often find 
>inspiration from engaging in rather arbitrary mathematical games 
>(fibonacci, but also serialism, fugue, canon, etc.).  I think the 
>real question is whether such techniques are useful springboards for 
>the composer's imagination.

The Fibonacci series is also a natural phenomenon that gives shape to 
many living things and that forms the basis for the Golden 
Proportion. Humans seem to find this proportion universally pleasing 
and therefore the use of Fibonacci proportions is a natural and easy 
way to create structures that "work" aesthetically.


P.S. The Fibonacci series (1, 1, 2, 3, 5, 8, 13, 21...) is formed by 
adding two consecutive terms to derive the next term in the series 
(therefore 13 + 21 gives the next term 34). The Golden Mean (or 
Golden Proportion or Ratio) may be approximated by dividing 
consecutive Fibonacci numbers (13/21 = 0.61905..., 21/13 = 
1.61538...).

The higher up the series the closer the approximation to the 
proportion, which is commonly represented as "phi" and equals 
1.6180339887499... or -0.61803398874989...  For more details and an 
explanation of why phi has two values, see:

http://www.vashti.net/mceinc/golden.htm
-- 

______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://salamandersongs.com
http://ill-wind.com
--Boundary_(ID_GUpo8Wq3JJL4iG5yVGwKTA)--

From ???@??? Mon Mar 21 17:04:34 2005
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Subject: RE: [microsound] Fibonacci in music
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Well, I don't know if you can "wear out" something that may not be directly accessible to the listener...  Composers often find inspiration from engaging in rather arbitrary mathematical games (fibonacci, but also serialism, fugue, canon, etc.).  I think the real question is whether such techniques are useful springboards for the composer's imagination.  Such games do seem to provide helpful limitations, since (unless you believe in some myth of "dialectical" progress) the thought of all available musical choices in the postmodern era can be rather overwhelming.

~David

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

>>> xxxxxxxx@xxxxxxx.xxx 03/21/05 08:20AM >>>
No joke, I understand the rock band Tool uses the fibonacci series in one of 
their songs (hence the genre name "math rock").  ;-)  Might be an 
interesting reference if this is for a paper...

It seems that direct use of mathematical proportions is becoming quite 
common nowadays, especially when composers for the last 60-70 years have 
been so driven on using math and math-like processes to drive their 
compositions.  I've seen literally dozens of compositions that have an 
evident use of the fibonacci series or its relative, the golden section, and 
I've used it myself.  Not that I can blame them - it's quite an appealing 
proportion - but it might be starting to wear out from overuse.

>From: Mika Martini <xxxxxxxxxxx@xxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: xxxxxxxxxx@xxxxxxxxx.xxx 
>Subject: [microsound] Fibonacci in music
>Date: Fri, 18 Mar 2005 13:33:39 -0600 (CST)
>
>Hi microsounders.
>
>Please, if somebody have information, info, examples or music proyect 
>produced around of the Fibonacci number, teory or similar, I appreciate 
>very much.
>
>PD: Very insteresting the laptop perfomance discussion!
>
>Best regards, Mika Martini.
>
>
>
>
>-------------------------------------------
>[M!M] [SCL]
>[www.mikamartini.scd.cl] 
>
>
>
>---------------------------------
>Do You Yahoo!?
>Todo lo que quieres saber de Estados Unidos, América Latina y el resto del 
>Mundo.
>Visíta Yahoo! Noticias.



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From ???@??? Mon Mar 21 16:44:44 2005
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Date: Mon, 21 Mar 2005 10:46:57 -0600
From: David Powers <xxxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] hamster MIDI controller
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Hmmm, the hamster part is fine, but it seems like there could have been
much more interesting timbral, harmonic, and rhythm choices made for the
hamsters to trigger.  

I don't understand why people do something "crazy" in one area, and
then make these really timid compositional choices that doom the work to
aesthetic failure.  If the timbres are going to be Casio presets of
flute and xylophone, at least use some more exotic harmonic and rhythmic
material!

~David

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

>>> xxxxxxxxxxxx@xxxxxxxxx.xx 03/20/05 02:35PM >>>
the future of music is here.

apparently these little guys are headlining mutek this year.

http://instruct1.cit.cornell.edu/courses/eceprojectsland/STUDENTPROJ/2002to2003/lil2/


g.


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From ???@??? Mon Mar 21 15:42:13 2005
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Hi David,

sounds interesting. PD has quite a collection of random objects, but the 
cellular automata/neural network stuff isn't so immediately usable as 
the high-level objects I've seen in Max/MSP, but that's true in general 
about the differences between the two (PD = more DIY, no "black boxes", 
more low-level functions used vs. Max/MSP = more commercial, many 
high-level "black boxes" used instead of low-level objects).

I used some basic stochastic generators for an electromagnetic 
installation called OZONE a year or two ago. Actually, I wish I had 
spent more time developing the algorithms, because once I started 
looking at all the stuff on generative art out there.

I did find a few links to some interesting stuff already:

http://www.r4nd.org/
http://www.r4nd.org/help2.html
http://www.generativeart.com/ [many papers from several years of 
conferences]
http://www.generativeart.com/2000/PHILIP_GALANTER.HTM
http://www.pawfal.org/nebogeo/
http://www-106.ibm.com/developerworks/java/library/j-camusic/?Open&ca=daw-ja-news#resources 
[OR http://tinyurl.com/6wkxd]
http://dataisnature.com/ [nice blog, BTW!]

For the Soundscape-FM.net project, we'll be developing some kind of 
"intelligent" system to make mixes of the sounds based on transit 
between two points (i.e. play me a linear mix of all sounds in the 
database occurring if one were to travel between Amsterdam and Tokyo), 
but that is still under development and will go on-line in April.

I'd be interested as well to hear about other projects out there.

best,
derek


-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 57:
"Do the words need changing?"

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From ???@??? Mon Mar 21 14:44:36 2005
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From: chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: RE: [microsound] Laptop, etc as Performance device
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>  >a laptop can only not be considered a performance object if the level
>>of understanding in observers of the performance holds more weight
>>than the performance itself.
>>   nathand
>
>
>Perhaps then this discussion is not about the role of the laptop but of
>the relative importance of the audience.

this is a very "tree falls in a forest" question, but a valid one. 
obviously the question of performance only arises with other people 
present; no one says "i did a musical performance yesterday in my 
room alone."  so if the audience the main additional ingredient to 
make something a performance then their presence, undeerstanding, and 
reaction to what the artist is doing is hugely important.

d.

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Date: Mon, 21 Mar 2005 14:37:28 +0000
From: Alex Young <xxxx@xxxxx.xx.xx>
Subject: Re: [microsound] AI in microsound
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 FILETIME=[A9FA1880:01C52E23]

I've been using L-Systems to generate images and instructions for 
sound.  L-Systems are based on strings, so I can breed the initial 
strings together, hence genetic programming.  I haven't really got very 
far, but it's quite a simple approach that can be reapplied in various 
audio/visual systems and programming languages without much effort.

The end result I wanted to achieve was based on peer to peer networks.  
You know those viruses that spot what you're searching for that create 
fake files to try and trick people into downloading them?  I wanted to 
write a program that waited for users to search for particular 
keywords, then generate audio based on my algorithms and their 
keywords.  Then you'd have little black boxes (as Eno said) hidden in 
p2p networks, creating unique tracks.

Maybe someone's done this by now, maybe I'll finish my code one day!

On 21 Mar 2005, at 14:10, david golightly wrote:
> For discussion:  What AI algorithms are the most useful in microsound 
> performance - in practice, not only in theory?  How many of you 
> microsounders are using AI algorithms, and what have your experiences 
> been?  Ever used neural networks/second- and third-order Markov 
> chains/genetic algorithms/generative grammars/other?  On what time 
> scale (piece-structure, moment, sound-event, or microsound 
> generation)? There was an interesting interview with Brian Eno back in 
> the 1980's (with The Wire mag, I believe) where he expressed a desire 
> for a musical "black box" that could produce music in a given style, a 
> Beethoven black box, a Beatles black box, an Eno black box...  Beyond 
> whatever proprietary concerns are involved, is this even achievable?  
> There's been a lot of talk of letting your laptop play a wave file vs. 
> performing the music yourself, but does anyone have any experience 
> teaching your computer to make desicions for you?

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


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From ???@??? Mon Mar 21 14:30:47 2005
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From: "Balazs, Gerofi" <xxxxx@xxx.xxxx.xx>
Subject: Re: [microsound] AI in microsound -> Continuator
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Hello There!


Sony has an intresting project called "The Continuator".
Description:
The Continuator project involves a real time interaction with a system
that learns musical styles. With the Continuator, users can play music as
they wish, and the system will automatically engage in a dialogue by
producing musical phrases designed as continuations of user input.
Gradually, the dialogue becomes more and more interesting and challenging
as the system continuously learns from all the previous interactions. We
are interested in the forms of excitement produced, and the links with,
e.g. the theory of Flow.

Check it's homepage:
http://www.csl.sony.fr/Research/Experiments/Continuator/index.php


Regards,
B. Gerofi

On Mon, 21 Mar 2005, david golightly wrote:

> I'm starting to develop a set of AI algorithms to assist in live
> performance, which will (roughly speaking) analyze control messages that I
> send and, after a certain point, be able to generate their own control
> messages based on the patterns I used.  Eventually I'd like to design an
> algorithm to analyze a continuously changing audio texture on multiple
> levels and be able to reproduce similar, non-repeating textures.  I've
> started by giving my PD patch some various recordings of birdsong (of the
> eastern Wood Thrush) for analysis, hoping to tune it to be able to generate
> its own non-repeating woodthrush-like song.
>
> For discussion:  What AI algorithms are the most useful in microsound
> performance - in practice, not only in theory?  How many of you
> microsounders are using AI algorithms, and what have your experiences been?
> Ever used neural networks/second- and third-order Markov chains/genetic
> algorithms/generative grammars/other?  On what time scale (piece-structure,
> moment, sound-event, or microsound generation)? There was an interesting
> interview with Brian Eno back in the 1980's (with The Wire mag, I believe)
> where he expressed a desire for a musical "black box" that could produce
> music in a given style, a Beethoven black box, a Beatles black box, an Eno
> black box...  Beyond whatever proprietary concerns are involved, is this
> even achievable?  There's been a lot of talk of letting your laptop play a
> wave file vs. performing the music yourself, but does anyone have any
> experience teaching your computer to make desicions for you?
>
> Cf.:
> David Cope, Experiments in Musical Intelligence
> Eduardo Reck Miranda (though I find his experiments with cellular automata
> contrived and unconvincing)
> among others
>
> thanks,
> david
>
>
>
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From ???@??? Mon Mar 21 14:20:11 2005
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Date: Mon, 21 Mar 2005 09:20:05 -0500
From: david golightly <xxxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] Fibonacci in music
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 FILETIME=[145AF170:01C52E21]

No joke, I understand the rock band Tool uses the fibonacci series in one of 
their songs (hence the genre name "math rock").  ;-)  Might be an 
interesting reference if this is for a paper...

It seems that direct use of mathematical proportions is becoming quite 
common nowadays, especially when composers for the last 60-70 years have 
been so driven on using math and math-like processes to drive their 
compositions.  I've seen literally dozens of compositions that have an 
evident use of the fibonacci series or its relative, the golden section, and 
I've used it myself.  Not that I can blame them - it's quite an appealing 
proportion - but it might be starting to wear out from overuse.

>From: Mika Martini <xxxxxxxxxxx@xxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: xxxxxxxxxx@xxxxxxxxx.xxx
>Subject: [microsound] Fibonacci in music
>Date: Fri, 18 Mar 2005 13:33:39 -0600 (CST)
>
>Hi microsounders.
>
>Please, if somebody have information, info, examples or music proyect 
>produced around of the Fibonacci number, teory or similar, I appreciate 
>very much.
>
>PD: Very insteresting the laptop perfomance discussion!
>
>Best regards, Mika Martini.
>
>
>
>
>-------------------------------------------
>[M!M] [SCL]
>[www.mikamartini.scd.cl]
>
>
>
>---------------------------------
>Do You Yahoo!?
>Todo lo que quieres saber de Estados Unidos, América Latina y el resto del 
>Mundo.
>Visíta Yahoo! Noticias.



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Subject: [microsound] AI in microsound
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 FILETIME=[C752BF80:01C52E1F]

I'm starting to develop a set of AI algorithms to assist in live 
performance, which will (roughly speaking) analyze control messages that I 
send and, after a certain point, be able to generate their own control 
messages based on the patterns I used.  Eventually I'd like to design an 
algorithm to analyze a continuously changing audio texture on multiple 
levels and be able to reproduce similar, non-repeating textures.  I've 
started by giving my PD patch some various recordings of birdsong (of the 
eastern Wood Thrush) for analysis, hoping to tune it to be able to generate 
its own non-repeating woodthrush-like song.

For discussion:  What AI algorithms are the most useful in microsound 
performance - in practice, not only in theory?  How many of you 
microsounders are using AI algorithms, and what have your experiences been?  
Ever used neural networks/second- and third-order Markov chains/genetic 
algorithms/generative grammars/other?  On what time scale (piece-structure, 
moment, sound-event, or microsound generation)? There was an interesting 
interview with Brian Eno back in the 1980's (with The Wire mag, I believe) 
where he expressed a desire for a musical "black box" that could produce 
music in a given style, a Beethoven black box, a Beatles black box, an Eno 
black box...  Beyond whatever proprietary concerns are involved, is this 
even achievable?  There's been a lot of talk of letting your laptop play a 
wave file vs. performing the music yourself, but does anyone have any 
experience teaching your computer to make desicions for you?

Cf.:
David Cope, Experiments in Musical Intelligence
Eduardo Reck Miranda (though I find his experiments with cellular automata 
contrived and unconvincing)
among others

thanks,
david



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 announcement
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friends!

A new on-line release "Stamina" from Ukrainian microsound and abstract noise master and co-producer of Nexsound label - KOTRA on great Canadian based web-label Nishi. 

http://www.notype.com/nishi/releases/55/index.html

Kotra will also be playing on 24 of march on Soundbridges festival in Austria.

http://www.skug.at


-=
http://kotra.org.ua
http://nexsound.org



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From ???@??? Mon Mar 21 01:06:26 2005
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Subject: RE: [microsound] Laptop, etc as Performance device
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>a laptop can only not be considered a performance object if the level
>of understanding in observers of the performance holds more weight
>than the performance itself.
>  nathand


Perhaps then this discussion is not about the role of the laptop but of
the relative importance of the audience.


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From ???@??? Sun Mar 20 22:14:35 2005
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I don't understand the necessary logic of point 3.  My preference would be
to explore the medium exactly in that area.

On 17/3/05 1:46 pm, "frederic yarm" <xxxx@xxxxxx.xxxxx.xxx> wrote:


> 
> These
> are the ground rules/recommendations he stated for this project:
> * Compositions solely using field recordings (with or without effects) to
> create a droney, hypnotic, or otherworldly product. The use of delay,
> loops, chorus, and reverb are encouraged. The listener should be able to
> recognize the source material in some ways but not others.
> * It will be an exercise in making 'music' out of non-instruments and
> finding the beauty in unplanned or orchestrated events.
> * One point about the field recording aspect of it is stressing that
> the person recording is not part of the recording in orchestrating or
> making the sounds, only a passive observer and documenter (obviously, just
> being there has an effect albeit hopefully minor).
>


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From ???@??? Sun Mar 20 21:38:32 2005
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From: Filip Gheysen <xxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] FW: Out now: Glasvocht/Nosordo compilation cd
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>From: Filip Gheysen <xxxxx@xxxxxxxxxxxxxxxx.xxx>
>To: xxxxx@xxxxxxxxxxxxxxxx.xxx
>Subject: Out now: Glasvocht/Nosordo compilation cd
>Date: Sun, 20 Mar 2005 10:21:41 -0800 (PST)
>
>"We're for the Unknown, Unbought & Unbossed: Glasvocht / Nosordo"
>cd (GVCD04/NSRD002) 10 eur
>www.glasvochtrecords.com
>www.nosordo.com
>artist info: http://www.glasvochtrecords.com/gvcd04.htm
>
>
>Tracklist:
>Ljudbilden & Piloten: Seventeen Curves / Five Lines 05.00
>Do: Elur jario 4:26
>Mapstation: For Malmö 4.51
>Dijf Sanders: Cheerleader memorial 02:56
>The Cheese: Save The Beard 1.49
>The Idealist: A Single Pistol Shot 04.00
>Mnemosyne: Fragile 04:04
>Osso Bucco: Three Days They Slept 04.49
>Douglas Ferguson: Dawning 09:47
>Seth Warren & David Dupuis: Fraying Rain No Sleep 07.45
>The Ordinary Seaman: Flames 03:52
>Det Svenska Folket: Sometime next year 06.01
>Fractional: Dini2na 03:30
>Massaccesi: Disappointment Descended out of Control 04.16
>Yasushi Miura: sounds.visual 04:41
>Ved: 72 steps 05.32
>
>order:
>xxxxx@xxxxxxxxxxxxxxxx.xxx
>xxxxx@xxxxxxxxxxxxxxxx.xxx
>
>Glasvocht distributors:
>www.aim-distribution.com
>www.lowlands.be
>www.a-musik.com
>www.carbonrecords.com
>
>Also available on Glasvocht:
>Noxagt/ Flies Inside The Sun/ Random Reflections/ Lovely Midget/ Loren 
>Connors: "Woman Taken In Adultery" cd (GVCD01)
>Teledroom: "Two Two's" cd (GVCD02)
>Picturesque: "A Final Expression Remains to be Found" cd (GVCD03)
>
>
>
>
>
>
>---------------------------------
>Do you Yahoo!?
>Yahoo! Small Business - Try our new resources site!
>
>
>
>
>
>
>
>
>
>
>---------------------------------
>Do you Yahoo!?
>  Yahoo! Small Business - Try our new resources site!

_________________________________________________________________

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From ???@??? Sun Mar 20 20:37:02 2005
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the future of music is here.

apparently these little guys are headlining mutek this year.

http://instruct1.cit.cornell.edu/courses/eceprojectsland/STUDENTPROJ/2002to2003/lil2/

g.


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From ???@??? Sun Mar 20 20:12:17 2005
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Date: Sun, 20 Mar 2005 21:20:47 +0100
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If anyone here is interested in authoring an audio DVD disk with free + 
open source tools, this new app just came down the pipe:

http://dvd-audio.sourceforge.net/

Looks quite handy.

d.

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 133:
"remember quiet evenings"

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hi there to all,

i want to share a link where you can hear my session at the Excavation Sonore, with the audio art crew from Québec, Avatar, http://www.meduse.org/avatar/   , originally released on its mp3 cd compilation "11 h, Excavation Sonore" (ohmavtr32), on Ohm éditions.

http://www.kunstradio.at/RADIOTOPIA/DATA/MP3/p/excavation_sonore_1.m3u

:)

Manrico Montero

Mexico City




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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: 25.03.05
~ 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 march's framework:focus edition, featuring a studio visit from the curator of the online mp3 label stasisfield, john kannenberg.  john spoke to us about stasisfield's online exhibition the audible still-life, and brought us a selection of the sounds used in it, as well as a number of the resulting tracks from the accompanying cd release.  each participating artist was given four directives:

1. construct a still-life
2. create a visual artwork that documents the still-life
3. record the sound that the still-life made
4. create an audio composition derived from the sound of the still life

the resulting exhibition, as well as information on the cd release, can be found here: http://www.stasisfield.com/space/still-life. the second half of the show consisted of live studio performance by john also using some of the material from the exhibition.  for more info on the stasisfield mp3 label and the work of john kannenberg, see http://www.stasisfield.com and http://home.earthlink.net/~jkannenberg. 

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

 

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


11.03.05

this edition will be rebroadcast this wednesday, 23.03.05, at 11:00am gmt 

glenn bach  /  two rooms  /  exhibition
glenn bach  /  phye  /  cd

hal rammel  /  highway construction (at rest)  /  exhibition
hal rammel  /  highway construction (in action)  /  cd

sawako  /  dd source  /  exhibition
sawako  /  dd (dream of the dog)  /  cd

john hudak  /  untitled source april 2003  /  exhibition
john hudak  /  untitled april 2003  /  cd

koura  /  field (found objects in main port office, gifu, japan)  /  exhibition
koura  /  okuru  /  cd

steve roden  /  mic resting on bookshelf  /  exhibition
steve roden  /  bookshelf (the titles of visible books)  /  cd


john kannenberg  /  live in the resonancefm studios


betsy biggs  /  deluge  /  exhibition
ethan koehler  /  stella remembers  /  cd



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



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_3tZ6x/d8t89YNApM3ar2ZQ)--

From ???@??? Sun Mar 20 04:10:34 2005
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Subject: Re: [microsound] Laptop, etc as Performance device
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i agree on this point. if you look at a laptop as a performance
object, excluding the consideration of software, as an essential part
of the laptop, as the performance object in the first place, you may
expand the base object by adding additional controllers such as
keyboards, knob boxes, and touch sensitive devices.

i currently run a setup from a linux laptop with 3 different midi
controllers performing improvised sound with custom synthesizers in
csound.

it is quite a feat to control these in realtime, as some of the sound
generators are constant and not played like traditional instruments
and synthesizers.

it is quite different than touching keys and the mouse pad, however;
all the additions present are simply input extentions of the laptop
itself.

although performing with the additions adds more to the visual
presentation of the performance, it does not devalue the laptop as a
audio performance object.

if you removed the keyboard from the laptop and rewired it, mounting
the keys A-Z as buttons, spacing them a meter apart from each other,
then triggering sounds or modifiying parameters from these keys, it
would be more visual in that you would see a person running around on
the stage pressing buttons in different locations, however; due to the
physical spacing of the keys and the limitation of human speed, it
would greatly reduce the theoretical level of maximum complexity
inherient in the device, thus, in a sense, devaluing the maximum
potential of the audio performance.

to say this is more of a audio performance due to the physical
movement of the operator seems silly.

a laptop can only not be considered a performance object if the level
of understanding in observers of the performance holds more weight
than the performance itself.

i look at a performance as a manifestation of an operator in a system
to produce a desired effect. a performance exists as long as the
operator has control which is quite independent of an observers
realization of the operators control.

nathand

On Thu, 17 Mar 2005 15:26:12 -0800 (PST), andrew benson
<xxxxxxxxxxxxxx@xxxxx.xxx> wrote:
> I think you are indirectly touching on an interesting
> point, which is that one of the true beauties of the
> powerbook as a performance tool is all the goodies you
> can plug into it.  I think for me the gestural
> performance is only important because I am
> specifically interested in creating a relational space
> between sound and the body.   I am thinking of tools
> as prosthesis, a way to augment the human function.
> 
>  In regards to modifying joysticks, I do it a lot
> (mostly because I can't afford expensive usb/midi
> sensorboxes), and it's very easy once you get to know
> the circuit a little bit.  I don't want to get all OT
> teched out here, so if anyone's interested in cracking
> joysticks, contact me offlist...
> 
> I think also the discussion regarding the context of
> laptop performance is an important one.  There are not
> too many proper spaces that are conducive to engaged
> listening for such performances without going the art
> gallery/concert hall route.  What makes for an ideal
> listening environment?  Perhaps it has yet to be
> constructed...
> 
> Andrew
> 
> --- xxxxxxx@xxx.xxx wrote:
> > I use my laptop to perform noise, there was
> > something  that always  troubled
> > me,  why would someone want to come out and see a
> > computer nerd  standing
> > behind a laptop producing beeps and buzzes of
> > unknown patterns.   Should there
> > truly be a performance to make it art.  should
> > dancing bears  or trick dogs
> > jumping through hoops of flame company my
> > performance.........no.   Noise
> > performance is about the energy  produced from the
> > sound, it's what is felt not what
> > is there for eye  candy.  pounding keys may not be
> > the greatest act to see,
> > but what's  felt is to be known.  I don't restrict
> > myself to just a laptop, I
> > have a  trunk full of bent circuit goodies to play
> > with as well. I have
> > keyboards with  no keys but touch sensitive sensors
> > for randomness instead.  A
> > performance  is about what is felt not what is seen.
> >
> >
> > Geary
> >
> 
> Andrew Benson
> www.cloud-machine.com
> 
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
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> 
> 


-- 
http://patternmedia.com/

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Subject: Re: [microsound] Fibonacci in music
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http://www.geocities.com/Vienna/9349/index.html

On 
 Richard Zvonar <xxxxxx@xxxxxx.xxx> wrote:
> At 12:47 AM +0000 3/19/05, Gavin Stevens wrote:
> 
> >I did a track that was based on a clock-maths treatment
> of Pascal's
> >Triangle & the Fibonacci sequence. Both sequences
> produced repeating
> >patterns (Pascal quite short: 1-3-6-1-6-3-1-9-9;
> Fibonacci rather longer
> 
> >You can listen to (& free download) "When You Come to
> Me" here:
> >
>
>http://stage.vitaminic.co.uk/main/gavin_stevens/all_tracks/
> 
> Oh yeah, I neglected to give a URL for my piece:
> 
> http://www.salamandersongs.com/mp3/3_for_5.mp3
> -- 
> 
>
______________________________________________________________
> Richard Zvonar, PhD
> (818) 788-2202
> http://www.zvonar.com
> http://salamandersongs.com
> http://ill-wind.com


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http://www.geocities.com/Vienna/9349/index.html

On 
 Richard Zvonar <xxxxxx@xxxxxx.xxx> wrote:
> At 12:47 AM +0000 3/19/05, Gavin Stevens wrote:
> 
> >I did a track that was based on a clock-maths treatment
> of Pascal's
> >Triangle & the Fibonacci sequence. Both sequences
> produced repeating
> >patterns (Pascal quite short: 1-3-6-1-6-3-1-9-9;
> Fibonacci rather longer
> 
> >You can listen to (& free download) "When You Come to
> Me" here:
> >
>
>http://stage.vitaminic.co.uk/main/gavin_stevens/all_tracks/
> 
> Oh yeah, I neglected to give a URL for my piece:
> 
> http://www.salamandersongs.com/mp3/3_for_5.mp3
> -- 
> 
>
______________________________________________________________
> Richard Zvonar, PhD
> (818) 788-2202
> http://www.zvonar.com
> http://salamandersongs.com
> http://ill-wind.com


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From ???@??? Sat Mar 19 19:01:03 2005
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Subject: Re: [microsound] laptop as a performance device.
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Both. Except I am not sure I agree with the characterization of the 
performance as "artifical". On the one hand, in a venue/siituation 
where the content of the work can be satisfactorily isolated or focused 
on by an attentive audience, one would perform works which are best 
suited for that kind of venue/situation. On the other hand in a setting 
which may demand, er, let''s say a more "entertaining" or 
"crowd-engaging" approach, it would make sense as a performer, to take 
that into consideration when structuring the performance.

I think it is a matter of asking those questions and honestly answering 
them. The reception of the work, the situation in which it manifests, 
the audience, are all in a sense, part of the work. One is never really 
just a "laptop artist", if one ventures into the public sphere.

On Thursday, March 17, 2005, at 04:20 PM, Noel Peters wrote:

> So I think arguing that it isn't a problem is a bit like preaching to
> the converted. Is the approach to persist with the obvious 
> functionality
> of the laptop and wait for audiences to latch on to the idea that it
> doesn't matter, or is the approach to layer an artificial performance
> over the top. I prefer the former, because the latter seems dishonest.
> Or does that matter?


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

unique electronic music for the adventurous ear.

http://www.commtom.com
--Boundary_(ID_SpLNgVHwjz367uwDLmEyWg)--

From ???@??? Sat Mar 19 16:34:05 2005
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From: Carrera-Linn Cultural Exchange <xxxx.xxxxx@xxxx.xxx>
Subject: Re: [microsound] Calika @ The Wire
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David @ Audiobulb wrote:

> Hi Rudolphe,
>
> Thank you for your kind words - glad you enjoyed the track. It is 
> called 'Latticel Work' - by Calika (Simon Kealoha), as you can hear he 
> is musicially talented - he plays in a Jazz band and DJs - so he has a 
> good all round appreciation of musical technique and composition.
>
> Visit the site for more preview tracks from 'Intricate Maximals'.
>
> www.audiobulb.com
>
> ----- Original Message ----- From: "Carrera-Linn Cultural Exchange" 
> <xxxx.xxxxx@xxxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Friday, March 18, 2005 8:48 AM
> Subject: Re: [microsound] Calika @ The Wire
>
David;

Many thanks for that.  It was a very impressive work.

-- 
Regards,

Rudolph A. Carrera
Carrera-Linn Cultural Exchange
http://clcx.org/
http://clcx.blogspot.com/
http://rudycarrera.com/
http://rudolphcarrera.blogspot.com/



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From ???@??? Sat Mar 19 11:42:06 2005
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Date: Sat, 19 Mar 2005 12:41:59 +0100
From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] Mousikelab artgallery
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Hello all,

You are invited to see the exhibition of Totto Renna
http://www.mousikelab.it/artgallery/ndex.htm

Best

marco messina
http://www.mousikelab.com/

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From ???@??? Sat Mar 19 09:52:17 2005
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Date: Sat, 19 Mar 2005 09:50:00 +0000
From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] Calika @ The Wire
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Hi Rudolphe,

Thank you for your kind words - glad you enjoyed the track. It is called 
'Latticel Work' - by Calika (Simon Kealoha), as you can hear he is 
musicially talented - he plays in a Jazz band and DJs - so he has a good all 
round appreciation of musical technique and composition.

Visit the site for more preview tracks from 'Intricate Maximals'.

www.audiobulb.com

----- Original Message ----- 
From: "Carrera-Linn Cultural Exchange" <xxxx.xxxxx@xxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Friday, March 18, 2005 8:48 AM
Subject: Re: [microsound] Calika @ The Wire


> David @ Audiobulb wrote:
>
>> The Wire have featured a Calika track in their mp3 archive ::::
>>
>> http://www.thewire.co.uk/mp3/calika.mp3
>>
>> The track is taken from Audiobulb's Intricate Maximals compilation - out 
>> now at www.audiobulb.com
>>
>> Micro-glitch-groove-dub and guitar all in one track. Hope you enjoy.
>>
>> ---------------------------------------------------------------------
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>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>>
>>
>>
>>
> David;
>
> Does this track have a name?  It's quite remarkable.
>
> -- 
> Regards,
>
> Rudolph A. Carrera
> Carrera-Linn Cultural Exchange
> http://clcx.org/
> http://clcx.blogspot.com/
> http://rudycarrera.com/
> http://rudolphcarrera.blogspot.com/
>
>
>
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>
>
> 


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From ???@??? Sat Mar 19 07:48:44 2005
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Date: Sat, 19 Mar 2005 08:48:45 +0100
From: uzekt <xxxxx@xxxxxxx.xx>
Subject: [microsound] Sat, 19 March 2005 : bern dj set >>>13h gtm and molair
 live >>> 14h gtm for netstockfest
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hello

i'm playing dj set and Molair live for netstockfest 
streaming electronic music festival :

www.netstockfest.net

Sat, 19 March 2005

bern dj set >>>12h gtm
molair live >>> 13h gtm

thank for your support,
all the best,
bern


+ info / booking :
Molair live / Bern dj
www.bern-online.net
www.molair.net  [ new web site]






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From ???@??? Sat Mar 19 02:37:19 2005
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From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: Re: [microsound] unintentional sound
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I wrote:
> > A logical conclusion from the premise of phonography ("unintentional
> > sound is worth listening to")

Kim asked:
> could you define 'unintentional sound'?

I meant only: sound that is of [aesthetic] interest by fact of our
attention to it -- as opposed to by the intent we could reasonably ascribe
to its creator. (Our attention may be tickled by properties within the
unintentional shared with familiar intentional sound, of course...!)

Phonographically, this means, on either end of the spectrum: most
musicians play instruments to be heard; the sounds made by most machines
are "waste," undesired or arbitrary byproducts.

More interesting (from this attempt to classify) are sounds away from the
extremes: ritual sound (eg prayer); functional speech; natural soundscape
eg flowing water and weather; animal communications -- there's a continuum
of intent I believe we might ascribe to each.

I'm interested in because I embrace the notion that we have much to learn
from the serendipitous (read: accidental, unintended...).

Again ~ this does seem to be a point where phonography and microsound
intersect in an interesting way.

Fwiw I find myself projecting ideas from "glitch" and "accident"
aesthetics I read about on this group, towards a notion of "detritus"
soundscape.

I might say: "the rhythms of a manual printing press are arguably the
result of a 'glitch' or oversight in its design and construction, or
perhaps a necessary but unexamined consequence of those things..."

The analogy might continue in more subtle ways; for example, I feel
acoustic ecological concerns about "the noise problem" often seem to
oversimplify the question of what noise is -- e.g. one person's noise is
another person's "soundmark," even within the frame of reference of a lot
of acoustic ecological discourse itself.

Which is another way of saying, yesterday's noise is tommorow's
masterpiece -- and perhaps today's cutting edge.

 best,
  aaron

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

  |  quod omne animal post   |
  |  cogitum est triste...   |


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From ???@??? Sat Mar 19 02:12:57 2005
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Subject: Re: [microsound] Laptop, etc as Performance device
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>>Is this barrier simply a short term obstacle present until the audience
>>is able to understand the performative language of the laptop?
>
>No. There is no performative language of the laptop. Or more aptly, 
>yes there is a language, but it is only one syllable, and it is 
>misspelled. Unless someone does something performative, then there 
>really is no performance in practical terms. Laptop "performance" is 
>boring period. Just because someone gets up in front of people and 
>does something on their laptop does not mean that the entire history 
>of the performing arts should be re-calibrated to allow for that act 
>to be "good performance". It is a slap in the face to anyone who has 
>honed those performative skills. It is a slap in the face to the 
>audience to blame the lack of engagement in the performance on them 
>(the audience). You either have a good performance or you don't. 
>That definition is broad, and should be explored by anyone who wants 
>to "perform" using a laptop. The days of the novelty value of 
>someone getting up in front of people and doing something in real 
>time on their laptop are gone.


hopefully yes...but once novelty value has gone is when what's really 
worth something rises to the top.  i agree the audience can't be 
blamed, at least not entirely.  if we don't understand, then laptop 
artists need to make us understand.

again, context is all.  i absolutely loved the kid606 show at rothko 
in nyc, which could have benn called boring by some standards i 
suppose.  the onscreen visuals were manic and the music was 
completely insane.  i didn't have time to be bored.  i didn't care 
about the gear he was using (laptop and some outboard stuff).  he 
didn't even play much of anything i recognized, so my owning a few 
CDs of his had no effect.  i realize he could have theoretically done 
all the mixes prior to his arrival and just acted like he was doing 
something, but i think it was obvious that wasn't the case.  by 
contrast, i couldn't have been more bored with the plaid show i saw, 
which had *teo* people onstage and also had visuals.  that one i left 
early.  i also have their CDs and probably enjoyed them about as much 
at the time as i do kid606 now.  there must have been some difference 
between these two performances.

once you've seen a few of these shows, you learn the language of the 
laptop performer: the furrowed brow, the darting eyes, the hurried 
motions back and forth with other gear, the sweating, the head 
bobbing, the fist-pumping.  you could say it's all bullshit, but then 
you could say that of any aspect of visual performance in an 
essentially sonic medium.


d.

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Date: Fri, 18 Mar 2005 17:28:46 -0800
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At 12:47 AM +0000 3/19/05, Gavin Stevens wrote:

>I did a track that was based on a clock-maths treatment of Pascal's
>Triangle & the Fibonacci sequence. Both sequences produced repeating
>patterns (Pascal quite short: 1-3-6-1-6-3-1-9-9; Fibonacci rather longer

>You can listen to (& free download) "When You Come to Me" here:
>
>http://stage.vitaminic.co.uk/main/gavin_stevens/all_tracks/

Oh yeah, I neglected to give a URL for my piece:

http://www.salamandersongs.com/mp3/3_for_5.mp3
-- 

______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://salamandersongs.com
http://ill-wind.com
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From ???@??? Sat Mar 19 00:53:20 2005
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Hi Mika,

I did a track that was based on a clock-maths treatment of Pascal's
Triangle & the Fibonacci sequence. Both sequences produced repeating
patterns (Pascal quite short: 1-3-6-1-6-3-1-9-9; Fibonacci rather longer
- don't have it immediately to hand).

Both sequences were used to determine duration & harmony.

The track is called "When You Come to Me" & is the first track on my
1998 album "Staring at the Dawn". All 5 tracks on the album have some
sort of mathematical / algorithmic basis.

You can listen to (& free download) "When You Come to Me" here:

http://stage.vitaminic.co.uk/main/gavin_stevens/all_tracks/

I hope that you like it.

Best wishes,

Gavin.

On Fri, 18 Mar 2005 13:33:39 -0600 (CST)
Mika Martini <xxxxxxxxxxx@xxxxx.xxx> wrote:

> Hi microsounders.
>  
> Please, if somebody have information, info, examples or music proyect
> produced around of the Fibonacci number, teory or similar, I
> appreciate very much.
>  
> PD: Very insteresting the laptop perfomance discussion!
>  
> Best regards, Mika Martini.
>  
>  
> 
> 
> ------------------------------------------- 
> [M!M] [SCL]
> [www.mikamartini.scd.cl]
> 
> 
> 
> ---------------------------------
> Do You Yahoo!?
> Todo lo que quieres saber de Estados Unidos, América Latina y el resto
> del Mundo. Visíta Yahoo! Noticias.
> 

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on 3/18/05 11:22 AM, bruce tovsky at xxxxx@xxxxxxxxxxxx.xxx wrote:
  i'd be interested in hosting a gathering of
> nyc - based  performers.
> cheers
> bruce

Hi Bruce,

I'm in Jersey so if something like this happens please keep me in mind.

albert "omnid" casais


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At 1:33 PM -0600 3/18/05, Mika Martini wrote:

>Please, if somebody have information, info, 
>examples or music proyect produced around of the 
>Fibonacci number, teory or similar, I appreciate 
>very much.

Lots of Finbonacci examples in Bartok's music. See:

Ernö Lendvai. Béla Bartók: An Analysis of his 
Music, Kahn & Averill, London, 1971.

Also many instances in Stockhausen's music.

I used Fibonocci numbers for temporal proportions 
and other purposes in my percussion piece 3 for 5 
(1979).
-- 

______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://salamandersongs.com
http://ill-wind.com
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Subject: Re: [microsound] podcasting/audioblogs/net.radio/p2p
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Interesting is that webradio and other streaming media is virtually 
killed in Germany by april. Simular to US a year ago or so, the 
rightholders societys GEMA and GVL increased the pauschal wages so 
incredible high that almost every free webradio shuts down in the 
moment. It goes together with strange rules about how many times an 
artist can be played in a row, making retrospectives impossible. I don't 
know if the often suggested solution to play artists which are not 
members of Gema (like me :) ) is valid or everything is plain illegal.

Musicindustry acts now for some years as they want to kill themselves 
but this outragious behaviour even calls some politicians to duty (who 
normally ignore new media at best or fight against jobs by implementing 
software patents) because even they see that this kills new developments 
like podcasting:

(links in german, maybe the fish helps)

http://www.golem.de/0503/37038.html
http://de.indymedia.org/2005/03/109339.shtml

And didn't Apple downgrade Itunes so it can't stream mp3s? There it goes 
the digital life hub I guess...


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

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

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In a message dated 3/18/05 2:34:05 PM, xxxxxxxxxxx@xxxxx.xxx writes:


> 
> Please, if somebody have information, info, examples or music proyect 
> produced around of the Fibonacci number, teory or similar, I appreciate very much.
> 
> 
Obrecht Masses,    check out the Van Crevel edition in a music library.


mediadrome
international audiochrome, inc.

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From ???@??? Fri Mar 18 20:05:53 2005
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this is something we got onto discussing with Richard Middleton here in 
newcastle.
In a seminar where the term post-vernacular started flying around, as a way of 
talking about music with 
an avant-garde type approach yet not working at the same bourgeoise level as 
the historical avant-garde 
movements which played upon the dualism between dirty popular and serious art 
music, the term 
popped up as a way of side-stepping these issues with strong historical 
resonances.
The point was then made that the popular, of the people, has been hijacked and 
perhaps should be 
reclaimed rather than just running away from this term. clearly 'pop' music 
has a certain aesthetic 
meaning attached to it but why should people be deterred from defining their 
music as popular?


>===== Original Message From Craque <xxxxxx@xxxxxx.xxx> =====
>It drives me crazy that popular music has actually become consumerist
>music.
>
>I think we should change the name.
>
>Pop music used to carry an entirely different connotation... I prefer
>to think of it as useful music for the community and 'popular' activity
>that brings society together over class boundaries. It was never the
>Popular Music that garnered a need for money, it used to be the other
>way around; 'Art Music' is where the big bucks were, especially in
>opera and theatre.
>
>Maybe if Capitialism is considered a popular activity that is
>pragmatically useful, the actualization of today's Pop Music makes
>sense (not to me, but probably to the 'Popular Majority'). Everything
>about Popular Music has become appropriated by the manipulation machine
>of the Music Industry. The elements of Pop Music are much more
>interesting to me than the categorization of it being Pop.
>
>On Mar 16, 2005, at 1:45 PM, Peter Price wrote:
>>
>> If the word "pop" is problematic it is perhaps because you are using
>> it problematically. Why can't we just agree that "pop" is short for
>> "popular"  ;)
>
>
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http://www.altho.org
arts community


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From ???@??? Fri Mar 18 20:03:05 2005
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Mika Martini wrote:
> Hi microsounders.
>  
> Please, if somebody have information, info, examples or music proyect produced around of the Fibonacci number, teory or similar, I appreciate very much.
>  
> PD: Very insteresting the laptop perfomance discussion!
>  
> Best regards, Mika Martini.
>  

The (net)label Bremsstrahlung did a compilation around that topic but 
its not released, or? I did a piece with some oscillators made in pd 
using Fibonaccinumbers as wavegenerator....

Cheers,

Malte

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

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

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Hi microsounders.
 
Please, if somebody have information, info, examples or music proyect produced around of the Fibonacci number, teory or similar, I appreciate very much.
 
PD: Very insteresting the laptop perfomance discussion!
 
Best regards, Mika Martini.
 
 


------------------------------------------- 
[M!M] [SCL]
[www.mikamartini.scd.cl]



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From: andre goncalves <xxxx@xxxxxx.xxx>
Subject: [microsound] Upcoming NY event
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Hi all,

upcoming:

Ok.suitcase @ Share

In:
Lucky Cat
245 Grand St. 
Brooklyn

21:30h

check:
http://share.dj/share/event_info.php?eventID=120


having just arrived to new york for a residency at Experimental Intermedia
with Phill Niblock, André Gonçalves will present his first New York
impressions.


all the best
Andre

http://www.ctrl.tk
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>> A logical conclusion from the premise of phonography ("unintentional
>> sound
>> is worth listening to")
> could you define 'unintentional sound'?
> 

an escape of intestinal gas through the anus



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From ???@??? Fri Mar 18 17:40:47 2005
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I think it would be invigorating to engage in the
issues of audience-reception/institutional
'conventions' theoretically and generally, as regards
laptop performance.  In ANY space (rather then simply
going with/frustratingly resigning to what the
traditions/institutional spaces dictate as the norm ->
art/gallery spaces are more comfortable for laptop
performances, and rock/club/bar spaces create
different set of expectations, type of thing).  Been
reading Site-Specific Art.  It's got reasonably good
sections on Morris' site works, and Happenings (i.e.
Kaprow's "Only for Performers"  for instance, and he
doesn't mean all have to be musicians, or anything
like that. he means wherein all became a part of its
very event) -- how breaking down walls of expectations
in audience-performer  brought the situation/event to
an entirely different level of real experience, and
hence re-ignited an experience of art (lower case!). 
With laptop performances, I often feel that not enough
thought is given to the space itself. Simply sitting
down in the front of the stage is a a bit naive about
the whole experience/event, at heart.  Not that the
scene has to be baroque or entertaining. Rather that
even things like shifting the space such that the
laptop performer is, for instance, on the floor and
the audience is arranged in a funky all over the place
way, can do things with the performance/event that
make the sound transfigure beyond the usual passive
audience/holy creator set up.  This could go so much
further.

It would be interesting I think to develop a
collaborative performance/project using Skype or other
VOIP technology.   Could then occur over vast
distances, at the same time. 


>performance issues, 
>perhaps the next .microsound project should be a
performance, something 
>that takes place in some particular space (in
physical space 
>telematically, in net space, in each of our
houses/apt's, or something 
>more vague), and involves some kind of
contribution/collaboration from 
>all the participants.

__________________________________________________
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From ???@??? Fri Mar 18 17:15:51 2005
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http://tinyurl.com/3opfo


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From ???@??? Fri Mar 18 17:10:15 2005
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at mutek last year, i was at the raster-noton evening at a club type
space (i forget the name). well attended but  really aggravating for
me because it seemed like everyone was talking through out the entire
night which kind of ruined carsten's set for me, as he had some very
quiet parts lost in the din.

i think the venue certainly played a part in how people were
responding (or not responding) to the music. unfortunately, some of it
turned into background noise. the audience seemed more energized by
olaf's techno-ish set, which was more appropriate (volume,
dance-ability) for the place.

im not trying to sound like a curmudgeon since i did have a good time
but certain things are better presented in non-club/bar environs.


On Fri, 18 Mar 2005 10:04:15 -0700, devslashnull <xxx@xxxxxxx.xxx> wrote:
> I had similar experiences in Baltimore in the late 70's /early 80's at
> recitals/shows at the Peabody Conservatory of Music. Ussachevsky would
> present works as well as others whose names I do not recall. I was
> young and it had the same effect on me. Amazing to sit and listen to,
> and in that context this "performance" works...
> 
> I think the problem arises when laptop performers expect that kind of
> attention from the audience in more "club" or "entertainment" venues.

-- 
v'

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From ???@??? Fri Mar 18 17:06:00 2005
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> A logical conclusion from the premise of phonography ("unintentional 
> sound
> is worth listening to")
could you define 'unintentional sound'?


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I had similar experiences in Baltimore in the late 70's /early 80's at 
recitals/shows at the Peabody Conservatory of Music. Ussachevsky would 
present works as well as others whose names I do not recall. I was 
young and it had the same effect on me. Amazing to sit and listen to, 
and in that context this "performance" works...

I think the problem arises when laptop performers expect that kind of 
attention from the audience in more "club" or "entertainment" venues.

I'd also like to add that my reference to "novelty" was intended to 
illustrate the way a club-going public "consumes" culture... the 
"Laptop thing" (as does all other cultural icons) has a certain amount 
of novelty value, which allows it to command space in the minds of 
cultural consumers. This created a market for laptop perfromers in 
those venues, many times without any relationship to the quality of 
their "performance" and/or music for that matter. Promoters of these 
kinds of shows want to be hip, and be presenting the latest cool thing 
(ie. high novelty value). My comment was that this novelty value has 
quickly faded (relative to location to some degree) and that just being 
a "laptop act" doesn't get you in the door as easily anymore. In fact 
to some extent I would argue that promoters have become wary of booking 
these acts, precisely because of these "performative issues" we are 
discussing. In short many audiences make it known that laptop shows are 
boring, and so promoters don't book them anymore. No promoter of this 
kind of show gives a damn about trying to "educate" the listeners, or 
re-formulating a gestural language or anything else... they just wanna 
sell tickets to happy throngs.

Again, I am to some degree generalizing... but I still think it is 
valid.


On Friday, March 18, 2005, at 09:05 AM, bruce tovsky wrote:

> which brings to mind a show which totally changed the way i thought
> about music...
> this was in 1971, when i was a freshman in college at indiana 
> university
> in bloomington, indiana. as some of you may know, iu has a well -
> respected music program, one of the best in the country. in addition to
> the usual suspects - classical and jazz programs - there was a thriving
> avant-garde scene as well. i saw some fantastic cage prepared piano
> recitals there. the "recital" that i am recalling, though, was of an 
> entirely
> different nature. iannis xenakis was a composer-in-residence at iu at
> this time, and he gave a faculty recital of his well-known 
> electroacoustic
> piece "bohor" in multichannel
>
> On Mar 17, 2005, at 5:41 PM, Kim Cascone wrote:
>
>> let's not forget the rich and deep legacy of acousmatic music as 
>> practiced in electro-acoustic circles for over forty years now...nor 
>> should we forget that often times novelty=spectacle=pop=emphemeral 
>> which I don't think holds much value for most acousmatic composers 
>> AFAIK...
>>
>
CommTom
Communications of Tomorrow
"it's only a day away"

unique electronic music for the adventurous ear.

http://www.commtom.com
--Boundary_(ID_2el1qKpCPUiYZ7cImKqCDA)--

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From: Frank D'Urso <xxxxxx@xxxxxxx.xxx>
Subject: [microsound] SPEAK FOR YOURSELF - Boston Zine Fair
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ya.....

Roman the Edge will be performing noise behind two poets tomorrow at the 
revived Bean Town Zine Town Festival at Mass Art in Boston.

Brian Mosher (BMO) and Ben Misch will be reading a few poems and the 
experiment will be interesting.

The Zine fair starts at noon and is free, the performances begin at 7PM, 
also free.

Plasticrazorprotecter and Sig Street join Frank and Dan D'Urso to create 
unique sonic scapes.

A CDr AudioZine contains their last BTZT performance from Brandeis, 
VeeVille Volumes #2 will be available at teh show or via mailorder.

OK

details here:

http://www.bostonzinefair.org/

The Zine fair will be open on Sunday as well.  Also free.

well.

FrankD





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On Mar 17, 2005, at 5:55 PM, Scott Carver wrote:

> It occurs to me... if we're all so interested in performance issues, 
> perhaps the next .microsound project should be a performance, 
> something that takes place in some particular space (in physical space 
> telematically, in net space, in each of our houses/apt's, or something 
> more vague), and involves some kind of contribution/collaboration from 
> all the participants. The only project we've had that's been remotely 
> like this was the droplifting project (which, IMHO, was the most 
> interesting project to date). I'm not proposing a specific project, 
> per se, but I think this would be an interesting challenge to 
> undertake and I'm wondering if anyone is interested.

i have just finished setting up my studio/installation space in the
brooklyn navy yard with just this kind of idea in mind. what we
visualize is something along the lines of a salon, with people
sharing their work in an intimate setting. my space is somewhat
small - 700 sq feet - but with 15 ft ceilings it feels spacious. i have
a quadraphonic sound system and a nice sony video projector,
along with a new g4. i'd be interested in hosting a gathering of
nyc - based  performers.
cheers
bruce



bruce tovsky
www.skeletonhome.com


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Thanks !
....great link to link.

On 3/17/05 10:17 PM, "Noel Peters" <xxxxxxx@xxxxxxx.xxx> wrote:

> And this link provides links to other works
> 
> http://www.dlux.org.au/mobile/artandfilm.html
> 
> 
> Noel 
> 
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From ???@??? Fri Mar 18 16:06:00 2005
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which brings to mind a show which totally changed the way i thought
about music...
this was in 1971, when i was a freshman in college at indiana university
in bloomington, indiana. as some of you may know, iu has a well -
respected music program, one of the best in the country. in addition to
the usual suspects - classical and jazz programs - there was a thriving
avant-garde scene as well. i saw some fantastic cage prepared piano
recitals there. the "recital" that i am recalling, though, was of an 
entirely
different nature. iannis xenakis was a composer-in-residence at iu at
this time, and he gave a faculty recital of his well-known 
electroacoustic
piece "bohor" in multichannel (17 or so speakers in a circle around the
space) surround. the stage was bare save for a large 1" multitrack tape
machine center stage, with a gray folding chair set beside it. xenakis
walks in with a large box of tape under his arm, walks over to the 
machine
and threads it up, hits play, and then sits down. while the amazing 
sound
of "bohor" washed over us for the better part of an hour, xenakis sat 
there
impassively, his scarred face displaying no emotion. unlike the cage 
piano
piece, which hews to the traditional context of a piano recital and 
skews
it from the inside out (pun intended) the xenakis piece blew away my
(admittedly underdeveloped, we're talking indiana here) concepts of
what a musical performance entails. i was engulfed in the wash of sound
and fascinated watching xenakis calmly sit there as it swirled around 
the
hall.
cheers
bruce

On Mar 17, 2005, at 5:41 PM, Kim Cascone wrote:

> let's not forget the rich and deep legacy of acousmatic music as 
> practiced in electro-acoustic circles for over forty years now...nor 
> should we forget that often times novelty=spectacle=pop=emphemeral 
> which I don't think holds much value for most acousmatic composers 
> AFAIK...
>
>
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>
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www.skeletonhome.com


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From ???@??? Fri Mar 18 15:51:50 2005
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thanks Aaron!

> The trick would be that the whole point of podcasting is to get content
> passively on an ongoing, recurring basis -- are you thinking that someone
> would subscribe (permanently) to the 10-second stream, ie whenever you put
> up a new archive of a webstream, they'd get 10 seconds/minutes of it...?

Sort of... of course I have no idea at this point how to
code the lifting of various random excerpts for podcasts
from the ongoing, streamed bbs-corpus.

Could also incorporate
(http://bbrace.laughingsquid.net/abstraction-engine.html)
titled "album art" with each mp3-excerpt...

/:b




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From: derek holzer <xxxxx@x-x.xxx>
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Hi Chad,

chad vollrath wrote:

> The MapHub application also has the ability to record the location that 
> the sound came from (given that the person who records it is able to 
> identify the location and enter it into their phone/PDA/or other mobile 
> device).  But I don't know if this would be useful for a performance.
> What do you all think - any ideas?  Feedback?  Does anyone know of any 
> similar projects?

Sounds very similar to a project I am developing for PDAs and webserver 
for STEIM right now:

http://www.umatic.nl/projects_pandev.html

I'll have a deeper look at your project a bit later and maybe we can 
swap notes!

best,
derek

***

The PANDev "Psycho Acoustic Navigational Device"

PANDev is intended to be an sound-gathering and processing application 
written for PDAs and other portable devices running Linux. Its purpose 
is to assist psychogeographers, phonographers and sound artists in the 
collection and arrangement of environmental sound material for research 
and creative purposes. PANDev is conceived to remove the isolating 
intentionality of the specialist--the artist, the geographer, the 
ecologist, the phonographer, the biologist, the ethnographer, the 
sociologist, etc--and replace it with a more accessible and holistic 
method of gathering sounds. When activated, PANDev will take random 
sound samples at random lengths and intervals. A simple interface or 
command line can be given to specify approximate times, but all specific 
recording is left to the application. Connected to the PDA will be a set 
of binaural microphones hidden inside quite normal-appearing walkman 
headphones. The microphones will reproduce exactly the acoustic 
conditions around the wearer, including such important psychoacoustic 
spatial cues as front, back, left, right, above, below and relative 
distance.

Using PANDev

To use PANDev, all the user need do is input an approximate length of 
time to record and an approximate level of randomization. The 
application does the rest, and the user is free to travel through their 
environment or carry out their day-to-day life. Whether the user chooses 
to seek out acoustically-interesting settings or even perform for the 
microphone is of little relevance simply because they will not know 
exactly when PANDev is capturing sounds. Thus, a more "natural" approach 
is recommended. The resulting sounds may be as banal as they are sublime 
or exciting, but they are absolutely guaranteed to provide a unique 
insight into the user's acoustic environment.

Optional Extensions to PANDev

Remixing Experience
PANDev has several other optional extensions. The first would be the 
ability to "remix" the sound material gathered at the end of the 
session, with a number of general subjective parameters including 
"rhythmic", "drone", "jagged", "smooth", "quiet", "loud", "linear", 
"disassociated", etc. An algorithmic composition can then be rendered 
and exported in WAV, AIFF, OGG, or MP3 format. It is important to keep 
in mind the extremely limited computing possibilities of a PDA [no 
floating point processor, for example, which most audio processing 
applications depend on!], therefore these algorithmic compositions must 
be considered as both pushing the hardware to the limits of its 
capabilties as well as an excercise in getting the most out of very 
little. Additionally, they provide a new way of remixing daily 
existance, with the aim of highlighting previously unnoticed details.

Cartographical Visualization
The second requires the use of a GPS unit attached to the PDA, from 
which PANDev would determine geographic coordinates to tag all sound 
samples gathered. These GPS-tagged sound samples could then be exported 
to a cartographic mapping system, either in realtime via a network [see 
below], or locally when each session is completed. For public 
exhibition, a running audio/visual display of the sounds gathered in the 
area could be maintained in a public or online space in collaboration 
Sara Kolster, a graphic and video artist from the Umatic group. See the 
following for an example of cartographic representation:

http://berlin.soundscpae-fm.net

Network Awareness
The third involves the using the built-in WIFI of the PDA to activate 
the network potential of the unit. PANDev will regularly scan the local 
area network of the WIFI card for other units operating the same 
software. If another PANDev is located, the two seperate units could 
exchange audio data, thereby expanding each individual's realm of 
experience. The unit could also upload sounds gathered, along with 
cartographic data, to a central server in order to provide either 
rela-time monitoring, or the possibility for a sound artist to make a 
performative live-mix of the action in progress.

-- 
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 149:
"Take a break"

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From: Gianluca Foglino <xxxxxxxx_xxxxxxx@xxx.xx>
Subject: [microsound] smbp live at netstockfest
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Hi list

today at 17 gtm  will start    netstockfest a 48 hours on line 
streaming elctronic music festival http://www.netstockfest.net

SMBP live set 17 GTM


best
gianluca





SundayMorningBrainProduction
http://smbp.it



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From ???@??? Fri Mar 18 11:44:45 2005
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Hello

> 1) what do you think about live coding as a performance? Where an artist 
> types in programming code to create the sound, such as Toplap 
> (www.toplap.org). The fact that the programming code is projected on the 
> screens is to give the audience an understanding of the process that is 
> going on to create the audio. Does the understanding of the process 
> increase ones appreciation of the sound & performance?

My gutfeeling says, that this is the next hot bullshit thing, although 
it is some time around. Dont get me wrong, some results might be 
interesting but again the tools stands over content. I had the same 
feelings when everybody was into vjing but instead some artistic 
happenings only boring stolen loops where mixed together with some 
stupid filter effects and was more a good decoration.
I dont think the audience would get it and can destinct inherent 
artefacts from intentional artistic efforts during a live coding 
session. It might give some thrills for people who never saw sourcecode 
before but this effect wears off fast. And then? Can real creative 
content be formulated in these tools?
Projecting the toolset to make things transparent got some inherent 
problems. Remember when Max/MSP hype took off and lot of people uses the 
look of patches for artwork so the audience thought the design, not only 
the patch, was the artists one instead of Cycling74?
I tried it myself on a concert in Sheffield to project my screen but I 
will not do it again because of these problems, it was only benificial 
for experienced fellow maxers, the rest just percieved a funny moving 
diagramme which acts in sync with the audible music :)
> 
> 2) what do you think to tactile interfaces as an alternative to laptop 
> performances? Here are some example projects:
> Audiopad - http://www.jamespatten.com/audiopad/
> Blockjam - http://www.csl.sony.co.jp/IL/projects/blockjam/
> Scanjam - http://www.muratnkonar.com/id/scanjam/
> (Scanjam is a concept project by two royal college of art students)
> Audiocubes - http://www.audite.at/en/projects_audiocube.html
> 

Let me throw in this one I saw on a conference a year ago, some pd folks 
are involved:

http://www.iua.upf.es/mtg/reacTable

These things are cool to create music and jam with some people and 
regain some haptic relationship. But it would be a funny picture for 
audience, adults playing with building blocks. We should dress ourselves 
like Pee Wee Herman and play around on the stage floor with these tinker 
toys :)

Cheers,

Malte

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

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

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privatelektro special live news. 03. 2005..

-> some brand hot live and live streaming dates!

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

NETSTOCK FESTIVAL 2005 :: WE are the NEW hippies 
18th - 20th march 2005

parachute and triPhaze will play LIVE at the netstock streaming festival this saturday:

parachute 23:00 - 0:00
triPhaze 01:00 - 02:00
(both GMT)

so: everbody is invited to tune in.
 
for more information about the excellent festival schedule 
(there will be three days of alomst constant streaming) and technical issues, please visit

http://www.netstockfest.net

or join the netstock-chat: open your soulseek client and join room OPENLAB. we´ll be there!


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

Joint Venture # 6
20th march 2005, sunday, at Galerie Zentrale Randlage, Berlin / 
Germany Schönhauser Allee 172 / U Bahn Senefelder Platz.. 
Kick off: 7 pm! www.zentrale-randlage.de

Live:
*Miyazaki Shintaro - adozen.org - Berlin/ Basel (CH) - Powerbook
*./morFrom/.- 121234 - Neuchâtel/ Zürich (CH) - jb - Gitarre/Laptop & jv - Harmonium/Laptop
*TUNAR (Dave Bennett - Montreal / Berlin guitar, electronics, 
    Merle Ehlers - drums, 
    Sabine Vogel - flutes, electronics)
*miwon- city center offices - Berlin - DJ + Data Juggling
*dot.lab- Berlin - visuals

presented by minimatika & privatelektro

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


privatelektro & alula ton serien 04:

26th march 2005

LIVE:

MORFROM / neuchatel / switzerland : laptop, harmonium, devices
ROB CURGENVEN / outbacks / australia : sampler, devices, prep. cds
MANAMI N. / tokyo / japan : laptop, voice &
triPhaze / Leipzig / Ger : laptop, devices, drones

DJ:

ORANGE DOT / ALULA TON SERIEN / Leipzig

LOCATION: WEEZiE Galerie fuer Zeitgenössische Kunst : Leipzig : 
Karl Tauchnitz Str. 11 : kick off 21 UHR.

****************************************************************************
We provide you with wicked fresh live musick!! Drones ! Electronica and Visuals:: 
non-mainstream and non-commercial. support us and yourself!

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


the spring awaiting privatelektro crew!..

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

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

contact us:
info at privatelektro.de

booking:
europe: xxxxxxxxx@xxx.xxx
uk & world: xxxxxxx@xxxxxxxxxxxxx.xx

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 / rekord - HH / kellermusik - leipzig /
drehmoment - berlin / r3s3t market - bern

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 FILETIME=[E2F5BA80:01C52B9A]


Hi

I've been lurking on microsound for a few weeks and I am very interested 
in the laptop performance discussion, so thought I would throw in two 
things to see what everyone thought.

1) what do you think about live coding as a performance? Where an artist 
types in programming code to create the sound, such as Toplap 
(www.toplap.org). The fact that the programming code is projected on the 
screens is to give the audience an understanding of the process that is 
going on to create the audio. Does the understanding of the process 
increase ones appreciation of the sound & performance?

2) what do you think to tactile interfaces as an alternative to laptop 
performances? Here are some example projects:
Audiopad - http://www.jamespatten.com/audiopad/
Blockjam - http://www.csl.sony.co.jp/IL/projects/blockjam/
Scanjam - http://www.muratnkonar.com/id/scanjam/
(Scanjam is a concept project by two royal college of art students)
Audiocubes - http://www.audite.at/en/projects_audiocube.html

It would be interesting to hear your thoughts on any of the above.

Cheers
-- 
~ Chris O'Shea;

# +44(0)7974 96871;
# me-at-chrisoshea.org;
# www.chrisoshea.org;

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From ???@??? Fri Mar 18 08:54:53 2005
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Date: Fri, 18 Mar 2005 00:54:40 -0800
From: Carrera-Linn Cultural Exchange <xxxx.xxxxx@xxxx.xxx>
Subject: Re: [microsound] Kim Cascone's "The Aesthetics of Failure"
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Bill Ashline wrote:

>On Fri, 18 Mar 2005 00:40:27 -0800, Carrera-Linn Cultural Exchange
><xxxx.xxxxx@xxxx.xxx> wrote:
>  
>
>>Christos Carras wrote:
>>
>>    
>>
>>>Owen Green wrote:
>>>
>>>      
>>>
>>>>That's true, but unfortunately not in its entirety (though I'd
>>>>reccomend  the book nonetheless).
>>>>        
>>>>
>>>i find that a very frustrating aspect of the book: there are many
>>>texts that are only partially reproduced, like a sample of someones
>>>thinking.
>>>
>>>personally, i would have prefered fewer but complete texts.
>>>
>>>cc
>>>
>>>      
>>>
>>Has anyone thought to place all of those texts into a large book, and
>>would anyone pay, say, $50-60 for a copy?  It seems like it would be a
>>good idea to do something like this.
>>    
>>
>
>
>It's very common to take and edit down texts for readers of this kind.
> Nothing unusual here.  Abridgment for the sake of providing a taste
>of a wide array of material is typical of academic publishing, and you
>can consider a text like Audio Culture to be a general introduction to
>the field.  Microsound denizens are obviously ready for something more
>advanced--for the most part I suspect.
>  
>
Bill;

Great deduction, but I'll admit to being greedy and wanting a thorough 
education in the subject matter.  To have access to as much material as 
possible would be quite nice, especially as I'd like to dive further 
into microsound's aesthetics.

-- 
Regards,

Rudolph A. Carrera
Carrera-Linn Cultural Exchange
http://clcx.org/
http://clcx.blogspot.com/
http://rudycarrera.com/
http://rudolphcarrera.blogspot.com/



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From ???@??? Fri Mar 18 08:49:00 2005
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From: Carrera-Linn Cultural Exchange <xxxx.xxxxx@xxxx.xxx>
Subject: Re: [microsound] Calika @ The Wire
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David @ Audiobulb wrote:

> The Wire have featured a Calika track in their mp3 archive ::::
>
> http://www.thewire.co.uk/mp3/calika.mp3
>
> The track is taken from Audiobulb's Intricate Maximals compilation - 
> out now at www.audiobulb.com
>
> Micro-glitch-groove-dub and guitar all in one track. Hope you enjoy.
>
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>
>
>
>
David;

Does this track have a name?  It's quite remarkable.

-- 
Regards,

Rudolph A. Carrera
Carrera-Linn Cultural Exchange
http://clcx.org/
http://clcx.blogspot.com/
http://rudycarrera.com/
http://rudolphcarrera.blogspot.com/



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On Fri, 18 Mar 2005 00:40:27 -0800, Carrera-Linn Cultural Exchange
<xxxx.xxxxx@xxxx.xxx> wrote:
> Christos Carras wrote:
> 
> > Owen Green wrote:
> >
> >>
> >> That's true, but unfortunately not in its entirety (though I'd
> >> reccomend  the book nonetheless).
> >
> >
> > i find that a very frustrating aspect of the book: there are many
> > texts that are only partially reproduced, like a sample of someones
> > thinking.
> >
> > personally, i would have prefered fewer but complete texts.
> >
> > cc
> >
> Has anyone thought to place all of those texts into a large book, and
> would anyone pay, say, $50-60 for a copy?  It seems like it would be a
> good idea to do something like this.


It's very common to take and edit down texts for readers of this kind.
 Nothing unusual here.  Abridgment for the sake of providing a taste
of a wide array of material is typical of academic publishing, and you
can consider a text like Audio Culture to be a general introduction to
the field.  Microsound denizens are obviously ready for something more
advanced--for the most part I suspect.

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From ???@??? Fri Mar 18 08:40:50 2005
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Christos Carras wrote:

> Owen Green wrote:
>
>>
>> That's true, but unfortunately not in its entirety (though I'd 
>> reccomend  the book nonetheless).
>
>
> i find that a very frustrating aspect of the book: there are many 
> texts that are only partially reproduced, like a sample of someones 
> thinking.
>
> personally, i would have prefered fewer but complete texts.
>
> cc
>
Has anyone thought to place all of those texts into a large book, and 
would anyone pay, say, $50-60 for a copy?  It seems like it would be a 
good idea to do something like this.

-- 
Regards,

Rudolph A. Carrera
Carrera-Linn Cultural Exchange
http://clcx.org/
http://clcx.blogspot.com/
http://rudycarrera.com/
http://rudolphcarrera.blogspot.com/



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http://www.londonsoundscape.net/


> What do you all think - any ideas?  Feedback?  Does anyone know of any 
> similar projects?





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> also at STEIM they have something called junXion
> which runs on Mac OS 
> X, and lets you use any USB device for a MIDI
> controller. 

I agree that Junxion is a great way to start with
using joysticks and other devices(I started back when
midijoy was the only option).  I've stopped using it
since Max/MSP started including real support for USB
devices.  I'm sure there are ways to get at the device
data in other operating systems as well...  It sure
beats buying one of those expensive sensor interfaces,
and with a little ingenuity you can fashion a custom
device for all your gesamptkunstwerk needs.


Andrew Benson
www.cloud-machine.com


                
__________________________________ 
Do you Yahoo!? 
Yahoo! Small Business - Try our new resources site!
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From ???@??? Fri Mar 18 03:51:53 2005
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> The idea of 'performing' with field recordings (i.e. if it's possible to
> transmit your location recording while listening to the way they're being
> processed simultaneously) is an interesting one...i wonder how feasible this
> is ?

Minus the gear, that's pretty much what a guided soundwalk is if course --
just flipping the challenge makes it all so much less expensive. Bring the
people to the sound -- if you can.

A logical conclusion from the premise of phonography ("unintentional sound
is worth listening to") is that the goal is not so much to share specific
recordings, but to cultivate and inculcate a particular kind of
intentional listening (ie attention) both as a practioner and in the
"audience."

The more I work with field recordings the more I come to believe that my
work and performance is all a slight of hand necessary to accomplish a not
quite revealed goal, which is encouraging the listener to have a different
relationship to what they hear -- regardless of context: in fact,
*specifically* outside the context of performance, "work", etc.

My current toy theory is that to a dramatic extent what distinguishes
"interesting" phonography from un- is the conditioned application of
attention. Which is not to say that we *should* cultivate a deep
intentional interest in difficult (boring etc) listening -- but of course
many of us on this last already have ;) -- but that we could; and that the
cues we evolve to distinguish without reflection between what is and is
not worth listening to are quite ductile.

(Nothing new philosophically here, I just like pulling at it
experimentally in my own chosen domain (field recording and composition
therefrom).

Fwiw I do think that this is a point where the interests (dare I say
goals?) of "microsound" (esp. in its ultraminimalist vein) and my own kind
of phonography are deeply allied and cross-fertile...

But back to the idea of field recording "performance" --

Cf Janet Cardiff too; there is interesting territory yet to be explored
with the use of field recording (and video analog thereof) to diffuse the
boundaries of the real... among other things.

Eg I've been talking with some folks here in SF who do some pretty intense
immersive site-specific theater work (to date, always for an audience of
one -- entire pieces created for an audience of a single specific person;
the work based on research on and interviews with etc that person -- now
there is some radical reconsideration I must say to put into practice!),
about ideas of using binaural recordings played back in the space in which
they were recorded in all sorts of interesting ways -- the quality is
already there that you can cause some quite disorienting illusions...

 best,
 aaron

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

  |  quod omne animal post   |
  |  cogitum est triste...   |


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And this link provides links to other works

http://www.dlux.org.au/mobile/artandfilm.html


 Noel 

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Here is something being done right now in Australia. Not the first as I
understand...

http://www.dlux.org.au/mobile/index.html


 Noel 

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> re: Microsound Performance Project?
On Mar 17, 2005, at 3:26 PM, xxxxxxxxxx-xxxxxx-xxxx@xxxxxxxxx.xxx wrote:

This sounds like it was meant to happen.
I think I know how this should get done.

Pauline Oliveros has worked at this very kind of project of connecting 
performers via digital networking for decades now. She was just in Mtl. 
at the SAT, exploring the successful performances of 8 channel 
broadband diffusion. We have been doing it through McGill here for a 
while now. Pauline has also used  this format at RPI (Troy, NY) I 
believe.

I, having lurked for some time now, know that Tobias Van der Veen 
should get right on it and make this happen. Doug Van der Nort, you 
should help make it happen too!

I'm done but would simply like to be remembered for having brought it 
up first:-)
xx
kk


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From: Patrick O'Rourke <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] strange
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If you look on page 918 of the computer music tutorial
and check figure 20.1. Peter Samson next to the
Systems Concepts Digital Synthesizer. That mother is
bigger and than refrigerator! Capable of creating 256
independent sound sources in real-time, controlled by
mainframe, yikes! And I'm not talking about Peter.

I'm not sure if it was ever used in a
concert/performance setting, or what the interface was
via main frame, but the realtime aspect suggest that
this may have been possible. 

Perhaps someone the list knows more about this machine
or Peter Samson's work?

 I'd be curious to hear what it people have made with
it.

__

Patrick
(quietly reading and listening to the list for a few
years)


    
--- Malte Steiner <xxxxxxx@xxxxxx.xxx> wrote:
> michael trommer wrote:
> > Good lord, they didn't actually perform concerts
> with those things, though
> > (did they ?!)
> > 
> guess not because usally that music was not realtime
> and edited (and 
> performend) on/from tape.
> The Telharmonium should have been the biggest
> machine used to perform a 
> concert, big like a factory and listenable over the
> telephonline which 
> eventually jammend...
> 
> http://en.wikipedia.org/wiki/Telharmonium
> 
> -- 
> Malte Steiner
> media art + development
> -www.block4.com-
> 
> New release:
> Notstandskomitee track for compilation 12" 'world of
> disorder' on
> http://www.disorder-records.de
> more at blog 4, also available as rss feed:
> http://java.block4.com/blog4/
> 
>
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michael trommer wrote:
> Good lord, they didn't actually perform concerts with those things, though
> (did they ?!)
> 
guess not because usally that music was not realtime and edited (and 
performend) on/from tape.
The Telharmonium should have been the biggest machine used to perform a 
concert, big like a factory and listenable over the telephonline which 
eventually jammend...

http://en.wikipedia.org/wiki/Telharmonium

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

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

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That's a great idea for a project... some ideas that come to mind:

You can probably record the numbers of the people sending data. Though 
its somewhat tangential to your idea, I would be interested to see 
phone calls incorporated into the performance (a segment of the 
performance where the audience erupts into cell-phone-ringing would be 
fucking spectacular). Alternatively, I could see a tangent project 
where participants are called up and short mini-performances are 
broadcast to their phone, based on the database of sounds.

I suspect you might be able to focus the project a little more 
depending on how you frame it to the participants. There needn't be a 
huge narrative behind it, but it might help if you focused on specific 
kinds of locations, sounds, subject material, etc. This could help give 
the piece more meaning/context, and help avoid a situation where the 
musicians have to force their way through a (probably bad) performance 
using nothing but 15 or 20 clips of people saying hello or recording 
their dogs (who knows, maybe this could be good).

I think this project is hardly in danger of "celebrating the liberating 
power...". I suspect the primary "liberating power" that propelled cell 
phones to where they are now is the liberation of business people from 
the office. Without the support of businesses early on, I doubt 
cellular tech would have nearly infrastructure it has now.

I would love to hear how the performance is progressing. Also, when 
you've got time, I would love to know more about the MapHub project, 
especially the technology behind it.

- Scott Carver

On Mar 17, 2005, at 4:29 PM, chad vollrath wrote:

> I have been thinking a bit about a possible performance that 
> implements several laptops and mobile devices.  I'm working on a 
> project called MapHub right now (which I believe I mentioned on here 
> one other time - www.maphub.org).  MapHub is an internet application 
> that can store sounds, images and video from mobile devices.  We are 
> considering putting together a performance in which we ask the 
> audience to call our number where they record audio into their cell 
> phones immediately prior to the show (field recordings of street 
> noise, or whatever they want).  These sounds are immediately upped to 
> the database, and the musicians process the sounds on stage (we would 
> of course need to be connected to the net - a hotspot would be ideal). 
>  I don't know how this would turn out, or how it would sound.  I 
> imagine that the musicians (of which I would be one) would need at 
> least a little prep. time in order to isolate some sounds that might 
> serve as a percussive backdrop - something to give the piece some 
> structure.  I also imagine that the audience - whether in a bar or not 
> - would be more engaged with the laptop performance, precisely because 
> they have helped to produce it (I know that I'd listen for the sound I 
> recorded).
> I think that it is interesting that we now have the opportunity to 
> rely on the technology that the audience brings strapped to their 
> bodies as constitutive elements of the performance.  (There are 
> certainly issues here that I'm not entirely comfortable with - I don't 
> want to "celebrate the liberating power of the cell phone" by any 
> means.  Nor do I want to construct a performance atmosphere that 
> excludes people based on class and tech-literacy.)
> The MapHub application also has the ability to record the location 
> that the sound came from (given that the person who records it is able 
> to identify the location and enter it into their phone/PDA/or other 
> mobile device).  But I don't know if this would be useful for a 
> performance.
> What do you all think - any ideas?  Feedback?  Does anyone know of any 
> similar projects?


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