From paulo raposo Sent Mon, Nov 1st 2004, 06:58
From paulo raposo Sent Mon, Nov 1st 2004, 06:58
Paulo Raposo/Janek Schaefer
Thurs 4 Nov | 7.30 pm
Atlantic Waves Festival
Spitz, London , UK
109 Commercial st
Old spitalfields Market,
London E1 6BG
In the same night:
Autodigest vs 3 sax players
Lol Coxhill, Rob Mills, Alan Wilkinson
http://www.atlanticwaves.org.uk
If you're around, please come and say hello
http://www.sirr-ecords.com/pauloraposo
http://www.sirr-ecords.com
Sorry for possible x-post
A-taa
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From ???@??? Mon Nov 1 08:22:08 2004
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Date: Mon, 01 Nov 2004 09:24:59 +0100
From: steinbr=?ISO-8859-1?B?/A==?=chel <xxxxxxxxxxxx@xxxxxxxx.xx>
Subject: Re: [microsound] Released?
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not sure if it's planned for a release. to be sure you can contact marcus
maeder from the label domizil, who organized the transient travels project
together with jasch. here's his email: xxxx@xxxxxxx.xx
http://www.domizil.ch
if anybody is interested here's the link to the transient travels website:
http://www.transienttravels.net
yours back, ralph.
Am 1.11.2004 0:27 Uhr schrieb "JOHN LOS" unter <xxxxxxxx@xxx.xxx>:
>
>
>
> Does anyone know if the two pieces that F.Hecker created for the transient
> travels project(Inverted Henon Map III/Double Scroll) will be released?
>
>
> Yours John.
>
> _________________________________________________________________
> Don’t just search. Find. Check out the new MSN Search!
> http://search.msn.click-url.com/go/onm00200636ave/direct/01/
>
>
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From ???@??? Mon Nov 1 10:40:38 2004
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Date: Mon, 01 Nov 2004 11:40:34 +0100
From: Peter Luining <xxxxx@xxxxxxxxxx.xxx>
Subject: [microsound] ZNC rand()%
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date: 30 oct 2004
subject: ZNC rand()%
artist: Peter Luining
description: ZNC rand()% is a automated html to ascii to color and sound
browser that plays randomly all urls that were submitted to:
http://znc.ctrlaltdel.org/urls/index.html
special: ZNC rand()% was specially made for the random streaming net
radio project r4nd()%
--------------------------------------------------------
direct download url ZNC rand()% (windows only):
http://www.fundamentalsoftware.org/ctrlaltdel/znc/ZNC_rand.zip
ZNC browser all versions (windows & mac OSX) + info:
http://znc.ctrlaltdel.org/
--------------------------------------------------------
r4nd()% url:
http://www.r4nd.org
r4nd()% direct streaming url:
http://62.169.138.240:8000/listen.pls
--------------------------------------------------------
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From ???@??? Mon Nov 1 11:01:51 2004
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Date: Mon, 01 Nov 2004 12:01:46 +0100
From: ale*** <xxxx@xxxxxxxxxxxxxx.xxx>
Subject: [microsound] video glitch (reprise)
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I decided to upload the second series of snapshots taken from a corrupted
MPEG copy of Blade Runner.
They are quite similar to the first set of pictures I took one month ago
though the colors and some patterns vary.
Naturally you can use them for the cover design of your next glitch album ;)
http://www.pachinkostudio.com/mugen/archives/000090.html
ale***
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http://www.12k.com/term/term10.htm [live mp3s]
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From ???@??? Mon Nov 1 14:26:08 2004
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Date: Mon, 01 Nov 2004 09:25:57 -0500
From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] spinal cat
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Organization: groovylab
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Nik Pashenkov's Spinal Cat
.... a hardware/software interface for controlling
musical events on a computer using a set of
disk-jockey turntables and paper 'records' that
can be printed or drawn...
The good stuff:
http://acg.media.mit.edu/people/nik/projects_n.cgi?spinalcat&intro
Cheers,
Eloy
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From ???@??? Sun Oct 10 16:13:37 2004
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Date: Mon, 01 Nov 2004 16:13:33 +0000
From: j izam <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] jetgroove has posted an explanation
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My personal view and i do have tracks up there including stuff under my
name i didnt even write is that these people are like most of the music
business , parasites with little or no morality and looking to simply line
their own pockets and perpetuate there own dreams and desires at the expense
of others.I wouldnt sign to people like this even if they offered me a
million pounds , you have to follow your heart dont you ?and not sell out ?
in an age when everybody is.I'll be interested to see who supports these
guys after the attitude and appraoch they took . . . . .
> jetgroove.com has posted a newsitem on their page with a response to
> this mess they have caused. unfortunately, their response does not
> contain an apology to the artists and labels they have upset.
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From ???@??? Mon Nov 1 21:39:17 2004
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Date: Mon, 01 Nov 2004 22:39:26 +0100
From: uzekt <xxxxx@xxxxxxx.xx>
Subject: [microsound] bern info
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Hello,
Following my recent accident, doctors announced that i'm recovering faster than common time.
I would like to thank all of you who have shown support, sending warm friendly messages and good moments of distraction.
Today, music is coming out again.
A remix for the napolitan label Defrag is already available on the Diva EP, the original is from Jonas Bering.
Enjoy !
info:
now:
jonas bering - diva ( bern edit) (dsp 005)
futur:
bern - no more war - under nl 002
various - bern - white bridge - thinner 070
bern - just married - thinner
www.dsprecs.com
www.underlinelabel.com
www.thinnerism.com
gigs:
27 / 11 / 04 : dj @ kiosk . Lille with jonasbering,tez....
02 / 12 / 04 : Molair live ( tez + bern ) @ la condition publique . Roubaix with jay ,stabil,pitch visual
www.bern-online.net
www.molair.net
www.postair.net
www.studiobook.net
--Boundary_(ID_xuz9ne1kxXyD4AlmHAlrHw)--
From ???@??? Mon Nov 1 22:12:02 2004
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From: ". m u r m e r ." <xxxxxx@xxxxxx.xxx>
Subject: [microsound] [playlist] framework - 29.10.04
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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: 12.11.04
~ time zone converter: http://www.worldtimeserver.com/?h=8&mn=30&ap=pm&mo=11&d=12&y=2004&f=GB
RESONANCE FM'S PROGRAMMING IS PRODUCED ENTIRELY BY VOLUNTEERS; PLEASE HELP US TO CONTINUE BY MAKING A DONATION. CHECK OUT OUR WEBSITE TO FIND OUT HOW YOU CAN HELP KEEP RESONANCE ON THE AIR: HTTP://WWW.RESONANCEFM.COM. THANK YOU!
--------------------------------------------------------------------------------
framework - phonography/field recording; contextual and decontextualized sound activity
presented by patrick mcginley
our first return to our standard format broadcast brought us a first delving into the pile of sounds that have backing up over the past several months while we've been working on the framework:focus shows - we listened to several tracks for the exquisite new cd by john hudak and stephan mathieu on sirr|ecords - in fact, with two copies of the album, we blended several of the tracks together to create a denser compressed version. this weaved in and out of recent work by mnortham from a split cdr that also features a collaboration between tbc and brume (we'll hear sounds form that portion of the disc next time), documentation of wind sculptures by french artists eric cordier and denis tricot, vlf recordings on homemade equipment by james dunn, and overseas sounds by quiet american and american sounds (all recorded in savannah, georgia) by local (to this island, anyway) mark vernon.
our next edition will be another standard format framework, getting us a bit deeper into the pile, after which, on the 19th of this month, we will have our next edition of framework:focus, featuring the architectural commentaries of marc behrens, and culminating in a framework commissioned commentary featuring the architecture of the resonancefm studio itself!
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
--------------------------------------------------------------------------------
29.10.04
this edition will be rebroadcast this wednesday, 03.11.04, at 11:00am gmt
(artist / title / album / label)
framework intro / keith de mendonca
an intro recorded in the rain reverberating off the scaffolding outside the artist's flat
http://www.dismbody.demon.co.uk/home.html
john hudak and stephan mathieu / 01
winter garden / pieces of winter / sirr
these two tracks created our first condensation from this album - the sounds for winter garden originate from snow falling on contact mics frozen into ice
http://www.sirr-ecords.com, http://www.johnhudak.net, http://www.bitsteam.de
mnortham / - / steps towards the hairy night / -
an initial textural whipping leads us into mnortham's trademark organic drones
http://www.radiantslab.com/mnortham
eric cordier / denis tricot / la conche / - / -
cordier teams up with french sculptor and artist tricot to create large wind sculptures and document their effects
http://www.kaon.org/eric_cordier, xxxxxxxxx@xxxx.xx
james dunn / clearing in wood on mountaintop / vlf field recordings, cwm cowarch, wales / -
the first track of a disc of exceptionally diverse vlf (very low frequency) radio recordings taken on a homemade receiver - more of these to come
xxxxxxx@xxxxx.xx.xx
quiet american / prelude: uxo
resonance / rockets of the mekong / grain of sound
a raw recording of the resonance of some cavernous location followed by a floating composition of repeating tones
http://www.grainofsound.com, http://www.quietamerican.org
mark vernon / grapefruit crush / 13th colony sound / meagre resource
and to wake us up - cutting up grapefruit, squeezing oranges, waste disposal unit, and monster trucks at the oglethorpe speedway park
xxxxxxxxxxxxxx@xxxxxxx.xxx
john hudak and stephan mathieu / 04
05
nuit blanche / pieces of winter / sirr
another condensation of three very different tonal tracks derived from highly manipulated field and instrumental recordings
http://www.sirr-ecords.com, http://www.johnhudak.net, http://www.bitsteam.de
mark vernon / wake up call / 13th colony sound / meagre resource
extraordinary woodpecker recordings, pneumatic drills, and roadworks in habersham street, savannah, ga
xxxxxxxxxxxxxx@xxxxxxx.xxx
--------------------------------------------------------------------------------
framework intro submissions:
1) take yourself and an audio recording device to a location of your choice
2) record for AT LEAST 1 minute before you -
3) read the following text:
welcome to framework.
framework is a show consecrated to field recording, and it's use in composition.
field recording, phonography, the art of sound-hunting; open your ears and listen!
4) continue your recording for AT LEAST 2 minutes after you've finish speaking
5) send the recording on any format to the address above, or as an mp3 via email
thanks!
--------------------------------------------------------------------------------
the framework 2003 cd has been reprinted and is now once again available directly from the resonancefm online shop, along with a selection of other benefit cds, t-shirts, and general paraphernalia. drop in here to have a look:
http://www.resonancefm.com/shop.php
framework 2003
resonancefm benefit cd featuring highlights from the year's broadcasting
rob grant & melanie clifford / framework intro
thomas dimuzio / unearth & lift and spear / sonicism / rrrecords
chris watson / river mara at night / stepping into the dark / touch
johannes helden / - / sketchbook / trente oiseaux
toy bizarre / - / kdi dctb 116 / absurd
murmer / liquid solid / definition / absurd
jgrzinich & seth nehil / the distant edge / confluence / intransitive
seth nehil & jgrzinich / the mirrored corner / stria / erewhon
annette lissauer / framework intro
toby paddock / air, surface and magnetic vibrations / - / -
steve roden / - / resonant cities / trente oiseaux
francisco lopez / untitled #101 / untitled (2000) / ignis projekt
mnortham / ancient sewer pipe, valletta, malta / phonography.org 5 / phonography.org
the quiet american / donkey trains leaving marpha, nepal / phonography.org 4 / phonography.org
steve barsotti / trainyard presence / phonography.org 5 / phonography.org
k. m. krebs / jericho sailing center (nautical gamelan) / phonography.org 4 / phonography.org
david daniell / highway 371, forty miles south of farmington, january 19, 1998, 2:25 pm / sem / antiopic
joyce hinterding / - / spectral / antiopic/sigma editions
david daniell / dixon lake road, july 31, 1999, 5:45 am / sem / antiopic
tacet ncv / live on framework
jean-luc guionnet & bertrand denzler / live on framework
dallas simpson / framework intro
--Boundary_(ID_XEXbQ4unUebgx7UC1wIw1Q)--
From ???@??? Mon Nov 1 08:35:27 2004
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Date: Tue, 02 Nov 2004 09:35:09 +0200
From: Jair-Rohm <xxx@xxxxxx.xx>
Subject: [microsound] Decision Dream on Resonance FM
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IMPROVISING TRIO DECISION DREAM LIVE ON RESONANCE 104.4FM, NOON-1PM GMT
On Saturday November 27th Decision Dream will perform live in the
studio on Resonance FM. The group is: Magnus Alexanderson
(http://www.magnusalexanderson.com/nav.html ) on guitar, Tony Bianco
(http://www.emanemdisc.com/E4104.html ) on drums and Jair-Rohm Parker
Wells (http://cdbaby.com/cd/jairrohmpw) on electric double bass.
Decision Dream combines psychedelic electronics with spontaneous
textural composition. Watch this list for release information for
their forthcoming CD "Steamroom Variations".
If you happen to be in London on that evening, tune in to 104.4fm on
your radio dial. If not, go to
http://www.resonancefm.com for live streaming audio.
JPW
--
Hear and buy "Exquisite Noise" at cdBaby
http://cdbaby.com/cd/jairrohmpw
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From ???@??? Tue Nov 2 09:10:51 2004
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Date: Tue, 02 Nov 2004 19:11:03 +1100
From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] Melbourne, Bulgaria, Zimbabwe, South Africa, Bete Studio,
St Jeromes ::: Uber_Lingua...
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This Thursday the 4th of November, Uber_Lingua celebrates it's 34th week at
St Jeromes and features 3 special guests!
First guest is FSB from Bulgaria, a wild child who's played regularly at
several clubs on the Black Sea coast as a resident... like Dracula, Sea
Station, Festival Complex, club Boonkers in his home-town of Varna, and
Astoria at a place known as Golden Sands.
FSB is on a journey to find new sound experiences thru Djing in the southern
Hemisphere. For three years he escape the comfort and worked in Southern
Africa (Zimbabwe to be exact) and now finds himself travelling thru
Australia and doing spontaneous DJ sets...
Our second special guest is a late edition to the lineup. A DJ known as
Jools, has recently landed from Cape Town and is part of the Fong Kong Bantu
Sound System and runs the the Liberation Chabalala production house. He's
also a writer and has a regular column as part of http://www.afribeat.com
.... In his record collection he's got Hip-hop in "Gamtaal" Afrikaans, and
hip-hop & kwaito in S'camto (which is a street blend of English, Afrikaans,
Sotho, Isixhosa)... he plays early-ish and should be pretty mad!
Lastly we play host to BETE studio launching their first zine... 'Bete
Studio' are a group of seven artists who work from a space located in little
La Trobe street. With the help of an RMIT Union Arts grant, they have
produced a zine which collectively maps their working space, using the idea
of the site specific as the subject of the work.
oh, and lets not forget the regular stuff from SS, Raysles and bP,
Uber_Lingua's resident selectors...
WHEN: Thursdays from 7pm
LOCATION: 7 Caledonian Lane, Melbourne CBD
(between little bourke and lonsdale, directly behind the lounge)...
ENTRY: Free of charge always...
find out more and listen to the free mp3 downloads at
http://www.uberlingua.com
Send demos to Uber_Lingua PO Box 2613 Fitzroy 3065 Australia
Subscribe or Unsubscribe by emailing xxxx@xxxxxxxxxx.xxx
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From ???@??? Tue Nov 2 10:59:59 2004
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Date: Tue, 02 Nov 2004 11:59:50 +0200
From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] OT Sign the petition in support of Indymedia!
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Sign the petition in support of Indymedia!
------------------------------------------
http://solidarity.indymedia.org.uk
Declaration
in Support of the Indymedia Network
and Against the Seizure of its Servers
Preface:
Indymedia is a global media network that provides open space to
publish challenging, independent reporting, with emphasis on political
and social justice issues. The Indymedia network is based upon
principled mutual aid and voluntary participation, maintaining openly
accessible newswires with the capacity for anyone to publish texts,
images, audio, and video.
On 7 October, 2004, hard drives from two Indymedia servers were seized
from the London office of a US-owned web hosting company, Rackspace,
at the request of the US Justice Department, apparently in
collaboration with Italian and Swiss authorities.
The seizure of the hard drives in London shut down an Indymedia radio
station and around 20 different Indymedia websites including those
serving Ambazonia, Uruguay, Andorra, Poland, Western Massachusetts,
Nice, Nantes, Lilles, Marseille, Euskal Herria (Basque Country),
Liege, East and West Vlaanderen, Antwerpen, Belgrade, Portugal,
Prague, Galiza, Italy, Brazil, UK, and parts of Germany Indymedia.
Although the hard drives were returned on October 13, the particular
legal framework under which the seizures took place is unknown. One
week after the seizures there is still an almost total information
blackout from the authorities in the UK, US, Switzerland and Italy.
Indymedia still has no confirmation of who ordered the seizures, who
took the hard drives, why the seizures took place, or whether it will
happen again.
In response, people all over the world have endorsed the following
Declaration:
We, the Undersigned,
* Denounce the seizure of the Indymedia hard drives as an
unacceptable attack on press freedom, free speech and privacy;
* Condemn this action as a violation of communication rights, as
expressed in Article 19 of the Universal Declaration of Human Rights,
which states: "Everyone has the right to the freedom of opinion and
expression; this right includes freedom to hold opinions without
interference and to seek, receive and impart information and ideas
through any media and regardless of frontiers."
* Voice concern over the growing use of international cooperation
frameworks by governments and law enforcement agencies to obscure
clear legal process, undermine civil liberties, and erode
communication rights.
Against the seizure of the Indymedia servers and the attempt to impose
silence:
* We request a full disclosure of the names of organizations and
individuals involved in the seizure, a copy of the subpoena, and an
investigation into the legality of the action by an independent party;
* We insist that all copies of the seized data be deleted or
returned to Indymedia, and that Indymedia be provided with a list of
organizations and individuals who have had access to the data held on
the hard drives as a result of the seizure;
* We call for openness and clarity in international cooperation
agreements, and that these agreements ensure due process, protect
privacy and free speech, and respect communication rights;
* We demand that the responsible parties be held accountable
TO BE DELIVERED TO:
The Rt Hon David Blunkett, MP (UK);
Attorney General John Ashcroft (USA);
The Director of the FBI;
The US Department of State;
Appropriate officials in the government of Italy;
Appropriate officials in the government of Switzerland.
--Boundary_(ID_K1iI6h/fOF7l2vOAwmh49w)--
From ???@??? Tue Nov 2 12:40:30 2004
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Date: Tue, 02 Nov 2004 04:40:22 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] a local shop for local people
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> Have to admit that the word regional fit badly in the continental
> context...
> but that probably was not your concern/confusion.
the word 'regional' (at least in English) means local to a particular
area...
Webster's Revised Unabridged Dictionary (1913)
Regional \Re"gion*al\ (-al), a.
Of or pertaining to a particular region; sectional.
WordNet (r) 2.0
regional
adj 1: characteristic of a region; "regional flora"
2: related or limited to a particular region; "a regional
dialect"
--Boundary_(ID_WBW+gnYMMEh1YoyRgfNDIQ)--
From ???@??? Tue Nov 2 13:42:03 2004
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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] regional listings
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so what might be a good idea is to make sub-pages for cities...for
example: Europe/Berlin/record shops...or America/San
Francisco/clubs...or Europe/Amsterdam/venues...etc...this way when
someone says: 'hey, I'm going to be in Blumberg, North Dakota can
someone recommend a good place to buy micro-disco records?' they can go
to the America/North Dakota page and check for cool record stores...
so if you start entering info please make a new link on the region page
to a new city page (which you will have to make of course)...
sound like a plan?
KIM
greetings from Gent!
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: [microsound] aiding with tonight's festivities: a drinking game for
some ages
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greetings microsounders,
Up here in Montreal, Canada, we'll be playing the following game along with
several ex-pat US-ers, a few weirdos, artists, musicians, drunkards, freaks
and ne'er do'wells known as the "Souper" clan (a Tuesday salon here in the
North) -- and a stash of Southern Comfort, over ice, in honour of HST, who
says that Kerry is going to win ( check it:
http://www.rollingstone.com/politics/story/_/id/6562575?rnd=1099411860385&ha
s-player=true )
The following comes from (stolen, really) Souper clan host and Spock Camp
nut of thee Burning Man, Mr. Bad:
--
Mr. Bad .O.
http://bad.dynu.ca/~evan/ ..O
cheers, tV
========
==== 2004 ELECTION NIGHT DRINKING GAME: MANDATORY ===
OK, so, I don't know a lot of drinking games, but here's my best shot:
[1.] One sip of preferred beverage every time:
- Any of the following words is used :
"economy" "values" "character" "live coverage" "Decision 2004" "debate" "war
record" "leadership" "Iraq" "running mate" "red state" "blue state" "exit
poll" "precinct""reporting"
- We see any of the following people on the screen:
George W. Bush John F. Kerry
We see an American flag
We see an info-graphic based on a state-by-state map of the USA
We see polling information for "likely voters"
[2.] One gulp every time:
We cut away to a reporter at some pointless "live coverage" scene (outside
the Supreme Court, on the street in Miami, wherever)
Someone points out that it's electoral college votes, and not the popular
vote, that decides the election
Any reference is made to 2000 presidential election
- The following words are used :
"too close to call" "Florida" "chad" "Constitution" "tragic events of
September 11th" "Massachusetts" "Texas" "Red Sox" "sluggish recovery"
"health care" "battleground" "Ohio" "Pennsylvania" "weapons of mass
destruction" "stem cell research" "the American electorate" "tax cuts for
the wealthy" "health care reform" "activate the party base" "The Internet"
"American troops" "United Nations"
- We see any of the following people on the screen:
John Edwards Dick Cheney Laura Bush Teresa Heinz-Kerry
Any images of 9/11
Any gratuitous computer-generated animation
[3.] One shot of hard alcohol every time:
- We see any of the following people on the screen:
Anyone's mother
Any of the hot Kerry daughters
Any of the hot Bush daughters
Bill Clinton Al Sharpton Ralph Nader Bruce Springsteen
Arnold Schwartzenegger Michael Moore Walter Mondale Jimmy Carter
We cut away to a reporter at an empty "victory party" with bored people
standing around, or no one at all
We see white people dancing badly and clapping off-beat to black music
- We hear any of the following words :
"Enron" "Tora Bora" "Muqtada al-Sadr" "Kim Il-Jung" "Fallujah" "elusive"
"squander" "Coalition of the Willing" "butterfly ballot" "Ronald Reagan"
"New York firefighters"
The reporting staff refers to how many Presidential election nights they've
covered together
[4.] Two shots of hard alcohol if:
- The following words are used :
"David Cobb" "Michael Badnarik" "Canada" "socialism" "My Pet Goat" "Mad cow
disease"
- We see the following people on-screen:
Eminem Al Gore Noam Chomsky Jacques Chirac Gerald Ford
Yasser Arafat dies
William Rehnquist dies
Fidel Castro dies
Osama bin Laden is captured
Saddam Hussein escapes
~ESP
--
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++
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From: mr m <xxxxxx_xxxxxx@xxxxx.xx.xx>
Subject: RE: [microsound ]Paulo Raposo/Janek Schaefer [ D o w n with the C h a
i r m a n]
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- - - - ---- --- - - - - - - - -
D o w n with the C h a i r m a n
- - - - ---- --- - - - - - - - -
S i j i s ------------ R a d i o
Thursday 4th november 13:15 - 14:00
resonancefm 104.4fm in london
Featuring music and chitchat from:
Janek Schaefer, Paulo Raposo, Julian Weaver, John Hopkins, Enrico Rosen, Ann Rosen, Johan Sandsjo.
go here:
http://www.sijis.com
www.resonancefm.com
www.archive.org
or here
http://www.archive.org/audio/audio-details-db.php?collection=sijis&collectionid=dwtc24
for more information.
-
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FREE EVENT TOMORROW NIGHT DOWNSTAIRS AT
The Foundry
86 Great Eastern Street London EC2A 3JL
Old Street tube (exit3)
8-11
LIVE ELECTRONIC IMPROVISATION, 8-BIT AND TECHNO
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From: tasty radish <xxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] web-radio election night broadcasts from the u.s.
underground
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*** grassroots/underground web-radio election night
broadcasts in the u.s. ***
** august sound coalition (anoise during the RNC) **
http://radio.socialtechnology.net
We will be intercutting with the following streams, as
well as doing live interviews, commentary and
pre-recorded material all night from the Funhouse in
Williamsburg, Brooklyn
from portland, oregan
portland indymedia webcast
http://portland.indymedia.org/en/static/pdxradio.shtml
from michigan
michigan imc
http://www.michiganimc.org/
from upstate ny, with call-ins to Hawaii, Florida and
more
Free103 Point Nine Transmission Arts
www.free103point9.org
also check the new U.S. indymedia site
http://indymedia.us/en/
(for folks outside of the u.s.a -- if it wasn't for
alternative/grassroots media there wouldn't be much
truth getting out there in the u.s. media per se.
'corporate' media is real, real
infotainment-all-the-time in this neck of the globe)
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
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Date: Tue, 02 Nov 2004 10:16:34 -0800
From: brad <xxxx@xxxxxxxxxx.xxx>
Subject: [microsound] us citizens...
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PLEASE go out and vote today. Remember to encourage others to as well.
Thanks!
Brad
--
Create oneself as art...
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From: Matt Davignon <xxxxxxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] 11/4 & 11/5 3rd Annual Found Objects Festival (San
Francisco)
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3rd Annual San Francisco Found Objects Festival
Artists from different approaches of experimental
music improvisation (acoustic, electronic, noise,
ambient, free-jazz, etc) will perform using sounds
from a pool of objects submitted by the audience.
Please bring something from home for the artists to
smack, rub together, shake, squeak, sample and
process.
Thursday, Nov 4 2004 8:00 PM
Luggage Store Gallery New Music Series
1007 Market St. (near 6th Street)
San Francisco
Kristin Miltner
Joe Balestreri
Chris Cohn
Peter Nyboer
Friday, Nov 5 2004 8:30 PM
964 Natoma St. (Near Mission & 10th)
San Francisco
The Noodles
Joshua Churchill
Garth Powell
Justino
Andrew Wilhausen
Each night $6-10 sliding scale.
Related links:
Thursday at Luggage Store:
http://www.bayimproviser.com/calendar.asp?FromPage=CalendarSummary&summary=false&event_id=3749
Friday at 964 Natoma:
http://www.bayimproviser.com/calendar.asp?FromPage=CalendarSummary&summary=false&event_id=3833
Peter Nyboer: www.yowstar.com
Joe Balesteri: www.metaman.us
Kristin Miltner:
http://www.paxrecordings.com/Artists/miba.html
Andrew Wilshusen:
www.bayimproviser.com/andrewwilshusen
Justino: www.anihilo.com
Garth Powell: www.bayimproviser/garthpowell
Joshua G Churchill: www.joshuachurchill.com
The Noodles: http://zoka.com/noodles
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From: xxxxxxx@xxx.xxx
Subject: [microsound] [ot] reviews needed
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does anyone know of any magazines that review noise.........i need a review of my demo
-t
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Date: Wed, 03 Nov 2004 08:27:43 +0200
From: niko <xxxx@xxxxx.xxx>
Subject: [microsound] Turku 6.11. - SQUIDRAW, COSINE NOMINE, SKORP-I-OVRO
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Triangelick Trepanations
1 + 2 + 3 = 6 = 3 x 2 x 1
Saturday 6th November
@ Living Room, Turku, Finland
SQUIDRAW (Fra/Bos/Fin)
The power trio of Ibrahim Terzic, Antoine Verhaverbeke and Frederick
Arana! Verhaverbeke treats his guitar in very concrete ways, and Terzic
& Arana sample and mangle the sound on the fly. Prepare your ears for a
dynamic sonic assault!
COSINE NOMINE (Fin)
Sine Nomine goes off tangent to reveal his darker side. The clean,
floating ambient soundscapes remain but the more new-agey elements give
room for some Things monstrous to enter.
SKORP-I-OVRO (Fin)
Ovro & Niko Skorpio live improvisation duo that may turn out calm &
atmospheric or furious & unsettling. Perhaps both! Probably also special
solo sets from both artists if circumstances allow.
+ album release party:
Ovro & Niko Skorpio : Live in Placard #7 CD
is out now and it's time to celebrate!
Tickets 3 EUR. Showtime 18-23. No bar.
Living Room info: http://www.someplaceelse.net/livingroom/
As usual, Some Place Else record shop is open as well.
Welcome!
Some Place Else
http://www.someplaceelse.net/
P.O. Box 685, FIN-20101 Turku, Finland
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Date: Wed, 03 Nov 2004 20:48:57 +1100
From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] Melbourne: Cello, 80's analogue synths, laptopers,
processed vocals, 8mm film, Video, Field recordings... at ENViRON 07/11/04
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ENViRON : unpredictable aesthetics
SUNDAY NOVEMBER 7th : 7PM TIL LATE : $5
LOOP : 23 Meyers Place Melb CBD
Environ is the monthly event in Melbourne where artists and musicians from
the many walks of the scene get together to form unprecedented
collaborations with wildly varied outcomes, in front of an audience.
Electronics has met psychobilly, dub mixing has met optical art, and jazz
brass has met Indian tabla... the sixth night on November 7th is set to push
the tangent even further.
For a limited time, free MP3 tracks from the artists involved in this
episode can be heard at http://www.environline.net
Direct from his tour of Vietnam, DJ Bags (AKA Alan Bamford) makes his
comeback performance. Also, Dubwise returns from his responsibilities at the
Newcastle 'This Is Not Art' festival to play his wild selection of quality
dubs... Once again, the internationally renowned paintings and digital work
of John Aslanidis will be exhibited in the backspace.
Involved in the Talula performance end of things is Bec Cole, a vocalist of
varying styles who experiments with processing techniques and is better
known for her work developing art concepts for the disabled. She's working
with Melbourne post-techno come Hip Hop and break beats producer Isnod, well
known for his releases on the 'if' record label and recent sets at the
Northcote community festival. Also part of this four way mash is SBS radio
presenter & Bulgarian Sound Engineer Viktor Markov and Lindsay Cox, a
Medical Photographer come Video artist, who recently returned from Taipei.
The second Talula is Clan Analogue founder Brendan Palmer, coming out from
behind the mixing desk and out front with a pile of ancient keyboards.
Re-discovering the electrical mother-synths that got him into electronic
music in the first place, Brendan works with Tony Woods, a 60 something
experimental filmmaker, 35mm slide and field recording collage artist. Also
collaborating with these two is Ben 'Shamen' Skepper an emerging Cello
player with half-Japanese origins who has been described as 'quite
passionate with the cello' by his peers, and environ stalwart Mik laVage
who'll be mixing (with great creativity) this found sound meets analogue
meets cello set...
Through combining the creative energies of many types of innovative artist,
environ events tend to have a certain electricity about them. People of many
backgrounds and generations come to experience something quite familiar, yet
obscure in approach. The Audience is at the centre of the action with
performers occupying the various corners of the Loop Venue, and this allows
for those sitting within the space to actually have a strong contribution to
the art being created... spontaneously...
Artist Bios and audio can be found at http://www.environline.net
Send demos to Environ PO Box 2613 Fitzroy 3065 Australia
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From ???@??? Wed Nov 3 10:10:31 2004
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Date: Wed, 03 Nov 2004 02:10:27 -0800 (PST)
From: bill thompson <xxxxxxxxx@xxxxx.xxx>
Subject: [microsound] experimental music in scotland (aberdeen)
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hi,
are there any scots on the list? i've just moved to
aberdeen scotland and am trying to stir up a scene
here...i've managed to get one night a month dedicated
to experimental music at the student union, and i'm
playing a few shows around town. i'd love to meet
others in the area into a similar aesthetic and maybe
host a larger event. i've met a couple in town
already.
feel free to email me directly at
xxxxxxxxxxxx@xxxxxxxxxxxx.xxx...
and more info on those events can be found in the news
section of my website (click on the event)...
www.billthompson.org
thanx,
b.
=====
www.billthompson.org
.........................................................................
"The more you think about things the weirder they seem." -Calvin
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Date: Wed, 03 Nov 2004 10:26:25 +0000
From: Richard Whitelaw <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] [ot] reviews needed
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On 3/11/04 6:07 am, "xxxxxxx@xxx.xxx" <xxxxxxx@xxx.xxx> wrote:
> does anyone know of any magazines that review noise.........i need a review of
> my demo
> -t
In the UK...
The Wire - obviously
A nice outsider is Robots and Electronic Brains Fanzine
http://www.come.to/robots
Or you can always send stuff to me Sonic Arts Network for a possible review
in Diffusion, our fortnightly eletter
Zero Tolerance magazine as well www.zero-tolerance.co.uk but their site
seems to be down at the moment
Good luck
Richard
************************
Richard Whitelaw
Programme Director
Sonic Arts Network
The Jerwood Space
171 Union St.
London SE1 OLN
Tel +44 (0) 20 7928 7337
F +44 (0) 20 7928 7338
xxxxxxx@xxxxxxxxxxxxxxxx.xxx
www.sonicartsnetwork.org
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From ???@??? Wed Nov 3 10:43:57 2004
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From: guiver ben <xxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] [ot] reviews needed
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Yeah www.dogmanet.org i write some of the music
reviews for them so's if you like you could email me
the file
xxxxxxxxx@xxxxx.xxx
best
ben
--- xxxxxxx@xxx.xxx wrote:
> does anyone know of any magazines that review
> noise.........i need a review of my demo
> -t
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From: Bas Van Heur <xxxxxxxxxx@xxx.xxx>
Subject: Re: [microsound] [ot] reviews needed
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you can also send it to Cut-Up, a new magazine for media culture in the
Netherlands: www.cut-up.com
all the best,
Bas van Heur
editor / Cut.Up.Media.Magazine / www.cut-up.com
journalist / KindaMuzik / www.kindamuzik.net
lecturer / Institute of Media and Representation / www.let.uu.nl/umr
> does anyone know of any magazines that review noise.........i need a
> review of my demo
> -t
--
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Date: Wed, 03 Nov 2004 11:59:35 +0100
From: henk b <xxxxxxx@xxxxxx.xx>
Subject: [microsound] contributers wanted
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--Boundary_(ID_FhVpY2rGsSpKA7hYfV4nFg)
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RadioWORM is (always) looking for contributors!
general info on WORM (rotterdam) www.wormweb.nl
sounds/music/info on www.wormstation.nl
info on RadioWORM: xxxx@xxxxxxx.xx or xxxxxxx@xxxxxx.xx
WORM - henk b
po box 25045
3001 HA Rotterdam
The Netherlands
Tel: +31 10 4767832 * Fax: +31 10 4767159
http://www.wormweb.nl
http://www.wormstation.nl
--Boundary_(ID_FhVpY2rGsSpKA7hYfV4nFg)--
From ???@??? Wed Nov 3 10:59:46 2004
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Date: Wed, 03 Nov 2004 10:59:36 +0000
From: David Newman <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] contributers wanted
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What kind of contributions are you looking for... tell us more
David @ Audiobulb
----- Original Message -----
From: "henk b" <xxxxxxx@xxxxxx.xx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Wednesday, November 03, 2004 10:59 AM
Subject: [microsound] contributers wanted
> RadioWORM is (always) looking for contributors!
>
> general info on WORM (rotterdam) www.wormweb.nl
> sounds/music/info on www.wormstation.nl
>
> info on RadioWORM: xxxx@xxxxxxx.xx or xxxxxxx@xxxxxx.xx
>
>
>
>
>
>
>
>
>
>
> WORM - henk b
> po box 25045
> 3001 HA Rotterdam
> The Netherlands
> Tel: +31 10 4767832 * Fax: +31 10 4767159
> http://www.wormweb.nl
> http://www.wormstation.nl
>
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any of the people who were interested in submitting papers to the TWiki
site
<http://microsound.nexthop.net/bin/view.cgi/Main/NoiseText>
regarding noise please contact me or Jon and let us know when we can
expect updates to the TWiki site?
thanks!
KIM
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From ???@??? Wed Nov 3 11:27:00 2004
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Date: Wed, 03 Nov 2004 12:29:37 +0100
From: henk b <xxxxxxx@xxxxxx.xx>
Subject: Re: [microsound] contributers wanted
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hello david and others
well if you check the audiofiles (f.i. radioworm) on wormstation you may
notice that we're interested in progressive or better say experimental
elektronik or elektro accoustic music, soundart, noise. in most cases we
receive original/not yet published material from artists all over the world,
who often can be heard playing live at our venue.
we also host live-studio projects, and streaming projects.
its hard to pin it down on style, as long as its attempting to be original
and with certain quality of course. to give an example projects like the
microsound/parasite f.i. could well have been a wormstation project.
if possible or appropriate we do specialized issues, in general we like
to mix all kinds of styles
formats; mp3, aiff, downloads or sent to us by cd-r
henk
--
WORM - henk b
po box 25045
3001 HA Rotterdam
The Netherlands
Tel: +31 10 4767832 * Fax: +31 10 4767159
http://www.wormweb.nl
http://www.wormstation.nl
> Van: David Newman <xxxxxxxx@xxxxx.xx.xx>
> Beantwoord: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Datum: Wed, 03 Nov 2004 10:59:36 +0000
> Aan: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Onderwerp: Re: [microsound] contributers wanted
>
> What kind of contributions are you looking for... tell us more
>
> David @ Audiobulb
> ----- Original Message -----
> From: "henk b" <xxxxxxx@xxxxxx.xx>
> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Wednesday, November 03, 2004 10:59 AM
> Subject: [microsound] contributers wanted
>
>
>> RadioWORM is (always) looking for contributors!
>>
>> general info on WORM (rotterdam) www.wormweb.nl
>> sounds/music/info on www.wormstation.nl
>>
>> info on RadioWORM: xxxx@xxxxxxx.xx or xxxxxxx@xxxxxx.xx
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> WORM - henk b
>> po box 25045
>> 3001 HA Rotterdam
>> The Netherlands
>> Tel: +31 10 4767832 * Fax: +31 10 4767159
>> http://www.wormweb.nl
>> http://www.wormstation.nl
>>
>
>
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From ???@??? Wed Nov 3 12:12:49 2004
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Date: Wed, 03 Nov 2004 04:12:43 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] XO Wave
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has anyone checked out XO Wave on OSX?
http://freshmeat.net/projects/xowave/
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From ???@??? Wed Nov 3 12:30:40 2004
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Date: Wed, 03 Nov 2004 13:33:34 +0100
From: steinbr=?ISO-8859-1?B?/A==?=chel <xxxxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] hecker release
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somebody on the list wanted to know if the tracks for the transient travels
project by florian hecker will be released...
well i've just received a newsletter by domizil:
"a compilation of Transient Travels will be released on domizil in december
2004"
http://www.domizil.ch
seems like they will be released.
best, ralph.
--
..:.: http://www.synchron.ch :.:.
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From: ".turnstyle" <xxx@xxxxxxx.xx.xx>
Subject: [microsound] XO Wave
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>has anyone checked out XO Wave on OSX?
>http://freshmeat.net/projects/xowave/
>
[][][][][][][][][][][] tech.bot
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Date: Wed, 03 Nov 2004 07:29:53 -0800
From: Sean Rooney <xxxxxxx@xxxx.xxx>
Subject: [microsound] [San Francisco] JiffyScuttler Tonight at the Rickshaw Stop
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The return of the JIFFY-SCUTTLER!
Blevin Blectum "Magic Maple" Release Party!
with
Blevin Blectum (Praemedia, Deluxe)
Wobbly (Tigerbeat6, Phthalo)
Roddy Schrock
DJ Miso (333 recordings)
Wednesday, November 3, 2004
Rickshaw Stop, San Francisco
155 Fell b/w VanNess and Franklin.
http://www.rickshawstop.com/
Doors 8:30, Show 9:30
cover: 5$
JIFFY-SCUTTLER returns! at the Rickshaw Stop!
Jiffy-Scuttler -- electronic music for today,
tonight and all of your special tomorrows!
(co-curated by Lance Grabmiller, J Lesser, Blevin Blectum and Sean
Rooney)
http://jiffyscuttler.praemedia.com/
BLEVIN BLECTUM: Praemedia is pleased to announce "MAGIC MAPLE", the
third solo release by one Blevin Blectum (formerly half of digital duo
Blectum from Blechdom, currently a member of the multitudinous
multimediated SAGAN). Electronic musics. The album picks up where the
acclaimed "Talon Slalom" (Deluxe records) left off. Prog-rockish
fantasy gone wrong hallucinatory sonic Hat head-phuck.
http://blevin.LSR1.com
http://www.praemedia.com
WOBBLY: Wobbly is a multi-talented artist who excels in music,
painting, singing, writing, dancing and even woodworking. Once dubbed
"Mr. High on Life", his colorful high energy is like electricity as it
provokes intense emotion in his audience.
http://detritus.net/wobbly/
RODDY SCHROCK: Roddy Schrock is a sound artist whose work has ranged
from tightly composed acoustic music to site-specific theater to
electronic music: he now works nearly exclusively in electronic music.
He creates visceral yet luxuriating sound environments for digitally
immersed audiences. They are 2 parts sonic dada, 2 parts meditative
sound space, and 1 part pop.
http://www.thing.net/~roddys/
DJ MISO: Label boss of 333recordings, taste-(mixer-upper)-maker,
Oakland-based Miso delivers the sounds of today tomorrow and
tuesday-next.
http://www.333recordings.com/
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From ???@??? Wed Nov 3 16:42:25 2004
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Date: Wed, 03 Nov 2004 11:42:04 -0500
From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist for October 20, 2004
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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>
> Dear Artist and Label
>
> Welcome to the radio program Whynot Jazz on Toronto's CKLN FM 88.1.
> Heard Every Wednesday Morning from 7am-11am est, 1pm thru most of
> Europe and noon in the UK. Available around the world at:
>
> www.ckln.fm
>
> Here is the playlist from the last Whynot Jazz Program. Please note
> that radio program, hosted by Mike Hansen, takes an outside
> examination of new improvised and jazz musics. Whynotjazz is one of
> the very few voices for progessive new music heard in Toronto or
> around the world.
>
> Why Not?
> 2004/10/20
>
>
> Artist
> Song Title
> Album Title
>
>
>
> Natsuki Tamura Quartet
> EliminateExit
> Libra records
>
>
>
> Territory Band 3
> Slides #1
> Map Theory
> Okka Disc
>
>
>
> Birgit Ulher
> Azodt
> Tidszon Unsk
> Creative Sources Recordings
>
>
>
> Koch Schutz Studer
> The Whisphering and Hammering Ritual
> Life Tied
> Intakt
>
>
>
> Sture Ericson
> 1
> Free Jazz
> independent
>
>
>
> Ken Aldcroft Group
> Reflections
> Kirby Sideroad
> Trio Records
>
>
>
> Anthony Braxton
> Countdown
> 23 Standards
> Leo Records
>
>
>
> Knyaz Mishkin
> Grifomania
> Intuitive Improviz
> independent
>
>
>
> Anker-Taborn-Cleaver
> Tiny Theatre
> Anker-Taborn-Cleaver
> demo
>
>
>
> Janek Schaefer
> Room 4
> Cold Storage
> DSP Recordings
>
>
>
> Fe-Mail
> Virus Attachment 1
> Skylubb fra Haelvete
> Important Records
>
>
>
> Lee Ranaldo
> North Six
> North Six
> Antiopic Live Series
>
>
>
> Sture Ericson
> 3
> Improv
> independent
>
>
>
> Albert
> Casais/Hal Mcgee
> Border Definition
> New Forms
> independent
>
>
>
> Kahn / Muller
> Fifth Blink
> Blinks
> For 4 Ears Records
>
>
>
> Sonore
> Hammer Requiem
> No One Ever Works Alone
> Okka Disc
>
>
>
> Sture Ericson
> 2
> Improv
> independent
>
>
>
> Ken Aldcroft
> In The Dark
> Kirby Sideroad
> Trio Records
>
>
>
> Henrik Strindberg
> Cheap Thrills
> WithinTrees
> Phono Suecia
>
>
> Your support is necessary in keeping this voice for the music current.
> Please feel free to forward music to the address below. Thanks again
> for your support. Keep Listening
>
>
>
> Thanks
> Mike
>
>
> Mike Hansen
> CKLN FM 88.1
> Whynot Jazz Program
> 79 Benson Ave.
> Toronto,On
> Canada
> M6G 2H7
> xxxxxxxxxx@xxxxxxx.xxx
>
>
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Given all the bad publicity about jetgroove here as of late, I'm wondering
how people feel about eMusic (www.emusic.com). Any thoughts from label
owners or just listeners on these guys?
I can't remember if I asked this onlist already.
P
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
{ Phil Thomson
{ home: http://www.sfu.ca/~pthomson
{ label: http://centibel.org/
{ group: http://groups.yahoo.com/group/databenders/
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
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From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [ot] mp3join for OS X?
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Hey,
Anyone know how to join a sequence of mp3's into one large mp3 on OS X?
Email me offlist if so.
P
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
{ Phil Thomson
{ home: http://www.sfu.ca/~pthomson
{ label: http://centibel.org/
{ group: http://groups.yahoo.com/group/databenders/
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
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Subject: [microsound] Contents Onda Sonora 03-11-04
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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 Ma-Ju-Sa / Tu-Th-Sa 18h
www.uam.es/ra
Escucha en directo a cualquier hora / Listen live real
time www.ondasonoraradio.com
_________________________________
CONTENTS ONDA SONORA 03-11-04
01. SAWTOOTH
Track: Space Freight
Album: Cellulloid Dreams
Label: Incidental
Abrimos el programa de esta semana desde Bristol, en
el Reino Unido, con Sawtooth, un trío que comenzó a
trabajar en el estudio a finales del pasado año sobre
improvisaciones, no sólo musicales sino también
visuales, lo que da un carácter marcadamente
cinemático a este disco, Celluloid Dreams, compuesto
con sintes analógicos, flauta, sitar, trompeta,
grabaciones de campo y percusión
This week's opening from Bristol, UK, with Sawtooth, a
trio that began working in the studio at the end of
last year over some improvisations, not only musical
but also visual, what gives a markedly cinematic
character to this cd, Celluloid Dreams, made up with
analogical sintes, flute, sitar, trumpet, field
recordings and percussion
02. ROBERT HENKE
Track: Signal To Noise I
Album: Signal To Noise
Label: Imbalance
Robert Henke, a quien conocemos por sus trabajos al
frente del proyecto Monolake, recientemente ha editado
un nuevo disco bajo su propio nombre, un álbum grabado
en Berlín en mayo de este año durante un período
climatológicamente tormentoso en la capital alemana,
lo que parece haber influido en gran medida este
trabajo, compuesto casi íntegramente a partir de un
sintetizador FM con una peculiar modulación tímbrica,
a la que se añade un procesado posterior
Robert Henke, who we know for his works for the
Monolake project, has recently released a new album
under his own name, an album recorded in Berlin in May
of this year, during a climatologically stormy period
in the German capital, what seems to have influenced
in great measure this work, compound almost entirely
starting from a FM synthesizer with a peculiar timbric
modulation, to which some digital process are added
later
03. PLUMB & PLUMBER
Track: Located
Album: Come Early Go Late
Label: Alg-a
El vigués Jesús Valle Pazos, artista plástico y músico
desde los 16 años, hace dos inició el proyecto Plumb
and Plumber. Este es uno de los cortes incluídos en la
introspectiva colección "Come Early Go Late", editada
a través del netlabel gallego Alg-a
Jesus Valle Pazos, from Vigo, plastic artist and
musician from his 16, two years ago began the Plumb
and Plumber project. This is one of the tracks
included in the introspective collection "Come Early
Go Late", released by the Galician netlabel Alg-a
04. KENNETH KIRSCHNER
Track: May 3, 1997
Album: May 3, 1997
Label: Autoplate
Nos detenemos ahora en las últimas novedades de otro
sello que trabaja por internet, Autoplate. La música
del norteamericano Kenneth Kirschner, que continúa en
la misma línea de trabajo procesando sonidos de piano
desde que hace unos años editara sus más conocidos
trabajos en este sentido en los sellos Sub Rosa y 12k,
con la inestimable ayuda de Taylor Deupree
Last novelties of another label working through
internet, Autoplate. The music of the North American
Kenneth Kirschner, continuing the same work line,
processing piano sounds, since the release some years
ago of his better known works in this field, by the
Sub Rosa and 12k labels, with Taylor Deupree's help
05. NORMAL MUSIC
Track: Machines Startle Me With Great Frequence
Album: Let’s Do Really Strange Things And Call Them
Normal
Label: Autoplate
Uno de los cortes incluídos en el último disco en
Autoplate del proyecto Normal Music, formado por Jeff
Surak del sello Zeromoon, Thomas Ekelund y Rafael
Irisarri
One of the tracks included in the last work in
Autoplate of the Normal Music project, formed by Jeff
Surak of the Zeromoon label, Thomas Ekelund and Rafael
Irisarri
06. EDIT
Track: Laundry
Album: Crying Over Pros For No Reason
Label: Planet Mu
Continuamos con otro par de novedades en este caso
desde el sello creado en 1995 por Mike Paradinas,
M-ziq: Planet Mu, en el que está centrando sus
esfuerzos en los últimos tiempos; esfuerzos
recompensados en ocasiones con trabajos como este del
músico californiano Edward Ma, Edit, que llega desde
Los Angeles con otra incesante dosis de guitarras
acústicas procesadas
We continue with some more novelties, in this case
from the label created in 1995 by Mike Paradinas,
M-ziq: Planet Mu, in which he is centering his efforts
in the last times; Efforts rewarded in occasions with
works like this by the Californian musician Edward Ma,
Edit, that arrives from Los Angeles with another
incessant dose of processed acoustic guitars
07. JULIAN FANE
Track: Sea Island
Album: Special Forces
Label: Planet Mu
Esta es la segunda novedad de Planet Mu para la sesión
de esta semana, en este caso a cargo del canadiense
Julian Fane, desde Vancouver, un joven talento que ha
pasado en sólo unos meses de vender títulos bursátiles
a convertirse en el discípulo predilecto de Mike
Paradinas
This is Planet Mu's second new release for this week's
session, in this case by the Canadian Julian Fane,
from Vancouver, a young talent that has turned in just
a few months from selling stock titles to become Mike
Paradinas's favourite pupil
08. MOKIRA
Track: Hässleholm
Album: FFT POP
Label: Cubic Fabric
Cuarto álbum del sueco Andreas Tilliander bajo su
pseudónimo Mokira, un trabajo sin duda más melódico
que los anteriores, que incluye importantes dosis de
glitch, colaboraciones femeninas en la voz (como la de
Naoko Sasaki, de Piana) e incluso emisiones de radio,
todo bajo un mantón épico y comprimido en menos de 40
minutos. Edita el sello japonés Cubic Fabric, dirigido
por Keiichi Sugimoto, de Fonica, Minamo o Fourcolor
Fourth album by the Swedish Andreas Tilliander under
his Mokira moniker, a more melodic work than his
previous ones that includes important glitch doses,
femenine collaborations in the voice (with Naoko
Sasaki, of Piana) and even radio emissions, all under
an epic shawl and compressed in less than 40 minutes.
Released by the Japanese label Cubic Fabric, directed
by Keiichi Sugimoto, of Fonica, Minamo and Fourcolor
09. MICHAEL J. SCHUMACHER
Track: Room Pieces New York
Album: Stories
Label: Quecksilber
Último trabajo del compositor nacido en Washington DC
Michael J. Schumacher, un neoyorkino de adopción que
obtuvo muy buenas críticas tras su "Room Pieces",
editado el año pasado de la mano de Phil Niblock a
través de su sello XI. Su retorno, esta vez en
Quecksilber, es una obra dividida en 4 piezas titulada
"Stories"
Last work of the composer Michael J. Schumacher, an
adoption New Yorker that obtained the critical acclaim
after his "Room Pieces", released last year in Phil
Niblock's imprint: XI. His return, this time in
Quecksilber, is a work titled "Stories" divided in 4
pieces
10. MAJA RATJKE AND JAAP BLONK
Track: Oslo 1
Album: Ratkje & Blonk
Label: Kontrans
Colaboración entre la noruega Maja Ratjke y el
holandés Jaap Blonk, ambos utilizando únicamente, y de
un modo muy peculiar, sus propias voces, a lo largo de
18 improvisaciones a dúo que han venido grabando
interrumpidamente a caballo entre Amsterdam y Arnhem,
en Holanda, y Oslo, en Noruega, desde el año 2001
Collaboration between the Norwegian Maja Ratjke and
the Dutch Jaap Blonk, both using only, and in a very
peculiar way, its own voices, along 18 duo
improvisations that they have offly recorded between
Amsterdam and Arnhem, in Holland, and Oslo, in Norway,
from the year 2001
11. FRANK ELTING
Track: Spoken Word
Album: VA- Clicks & Cuts 4
Label: Mille Plateaux
Uno de los cortes que componen la cuarta entrega de
uno de los recopilatorios más famosos de los últimos
años en el panorama de la música electrónica digital
en general y del diseño de sonido en particular, el
Clicks & Cuts de Mille Plateaux, que en esta ocasión
incluye cortes a cargo de artistas como Ran Slavin,
Eight Frozen Modules, Thomas Brinkmann, Bizz Circuits
o el alemán Frank Elting, con quien cerramos la sesión
de hoy
One of the tracks that compose the fourth delivery of
one of the most popular samplers over the last years
in the digital electronic music panorama, in general,
and the sound design in particular: the Clicks & Cuts
of Mille Plateaux, including in this occasion tracks
by artists like Ran Slavin, Eight Frozen Modulates,
Thomas Brinkmann, Bizz Circuits or the Frankfurter
Frank Elting, with who we close today's session
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From: henk b <xxxxxxx@xxxxxx.xx>
Subject: Re: [microsound] [ot] mp3join for OS X?
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i am interested too!
h
> Van: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
> Beantwoord: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Datum: Wed, 03 Nov 2004 19:29:13 +0000 (UTC)
> Aan: xxxxxxxxxx@xxxxxxxxx.xxx
> Onderwerp: [microsound] [ot] mp3join for OS X?
>
> Hey,
>
> Anyone know how to join a sequence of mp3's into one large mp3 on OS X?
> Email me offlist if so.
>
> P
>
>
> +~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
> { Phil Thomson
> { home: http://www.sfu.ca/~pthomson
> { label: http://centibel.org/
> { group: http://groups.yahoo.com/group/databenders/
> +~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
>
> SDF Public Access UNIX System
> http://www.freeshell.org/
> Geekier than you since 1987.
>
> ---------------------------------------------------------------------
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Hi all,
Low tech method but works for me on linux.
This is presuming you don't have any meta data (id3tag) in the mp3's.
Open up the osx terminal. And type:
cat mp3file1.mp3 >combined.mp3
cat mp3file2.mp3 >>combined.mp3
cat mp3file3.mp3 >>combined.mp3
cat mp3file4.mp3 >>combined.mp3
replacing the file names with your own of course :)
for thos who aren't command line friendly please note that the number of
> is important.
The first line bascaly says copy mp3file1.mp3 to combined.mp3
The second line says copy mp3file2.mp3 on to the end of combined.mp3
hope this helps
....steve...
henk b wrote:
>i am interested too!
>
>h
>
>
>
>>Van: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
>>Beantwoord: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>Datum: Wed, 03 Nov 2004 19:29:13 +0000 (UTC)
>>Aan: xxxxxxxxxx@xxxxxxxxx.xxx
>>Onderwerp: [microsound] [ot] mp3join for OS X?
>>
>>Hey,
>>
>>Anyone know how to join a sequence of mp3's into one large mp3 on OS X?
>>Email me offlist if so.
>>
>>P
>>
>>
>>+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
>>{ Phil Thomson
>>{ home: http://www.sfu.ca/~pthomson
>>{ label: http://centibel.org/
>>{ group: http://groups.yahoo.com/group/databenders/
>>+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
>>
>>SDF Public Access UNIX System
>>http://www.freeshell.org/
>>Geekier than you since 1987.
>>
>>---------------------------------------------------------------------
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>>
>>
>>
>
>
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Date: Thu, 04 Nov 2004 12:39:41 +1300
From: Niklas Werner <xxxxxxxxx@xxx.xx>
Subject: Re: [microsound] [ot] mp3join for OS X?
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Hi all,
On Thu, 04 Nov 2004 12:12, xxxxxx@xxxxxxxxx wrote:
> Low tech method but works for me on linux.
> This is presuming you don't have any meta data (id3tag) in the mp3's.
which you can strip using id3v2 or id3lib
http://id3v2.sourceforge.net/
http://id3lib.sourceforge.net/
(you will probably need the developer tools to compile those, unless you
find somebody who)
>
> Open up the osx terminal. And type:
>
> cat mp3file1.mp3 >combined.mp3
> cat mp3file2.mp3 >>combined.mp3
> cat mp3file3.mp3 >>combined.mp3
> cat mp3file4.mp3 >>combined.mp3
>
So you would have to type:
"id3v2 -D mp3file1.mp3" before each of the lines above (obviously
replacing mp3file1.mp3 with the corresponding file name).
Cheers,
Niklas
--
Computer Music PhD-student
University of Waikato
Hamilton
New Zealand
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Date: Wed, 03 Nov 2004 19:18:51 -0500 (EST)
From: Neil Wiernik <xxxx@xxxxxxxx.xxx>
Subject: [microsound] [REMINDER] NAW CD RELEASE PARTY NOV 6th 2004
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PRESS RELEASE:
On Nov 6th 2004 at the Casa del Popolo in Montreal Noise Factory Records
will be holding a label night and CD release for NAWs newest album "green
nights orange days." Playing this night will also be two new Noise Factory
Artists HEXES & OHS - and our most recent signing NYBBL
------------------------------------------------------------------------------------------------------------
SATURDAY NOVEMBER 6 2004
Noise Factory Records and CKUT brings you a night of free live music
featuring live performances by:
NAW - freshly back from his european debut, NAW will launch his newest
noise factory cd "green nights orange days" with live versions of his own
take on post electronic dance music from both his noise factory releases
as well as some new ones never heard before, you never really know what to
expect from a live set by this artist.
also appearing on this special night 2 of Noise Factory Records newest
signings:
HEXES & OHS - former members of: a vertical mosaic, show off their newest
electro-pop tuneage from their up coming noise factory release.
NYBBL - rochester NYs own 8 bit IDM rocker makes his debut north of the
border as a noise factory artist.
and rounding out the nights entertainment
KHANFUCIUS the mp3 dj selector for the night, will be helping to keep the
party going before, after and in between the live musical acts for the
evening
DELRAY a recent transpant from San Fransico to Canada will be providing
the visual stimulation for the night. You'll enjoy beautifully obliterated
imagery delivered via his own custom software.
when:
SATURDAY NOVEMBER 6 2004
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
------------------------------------------------------------------------------------------------------------
PRESS RELEASE
Noise Factory Records brings you another fine evening, showcasing some of
its up coming releases for 2004 and 2005. These label showcases the second
for Montreal is designed to act as a sampling of the diverse sounding
talent this Canadian mainstay of a label has to offer. Each of these
label events is an assembly of some of the labels most interesting and
newest offerings its artists have to offer, all working to create an
Immersive deep listening experience. The evening will feature the release
of the latest offering from label alumni artist: NAW called "green nights
orange days". Over 2 years in the making the new NAW cd will be officially
released on this special night. freshly back from his european debut, NAW
will launch his newest noise factory cd with live versions of his own take
on post-electronic dance music. Performing a sampling from both his
noise factory releases as well as some new never heard before material,
you never really know what to expect from a live set by this artist. Also
appearing will be 2 of Noise Factory Records newest signings: HEXES & OHS
former members of: a vertical mosaic, show off their newest electro-pop
tuneage from their up coming 2005 noise factory release and NYBBL,
Rochester NYs own 8 bit IDM rocker makes his debut north of the border as
a noise factory artist and promises to help get the nights festivities
going with some deep introspective material. Rounding out the nights
entertainment will be none other then KHANFUCIUS the mp3 dj selector for
the night, who will be helping to keep the party going before, after and
in between the live musical acts for the evening with his own brand of IDM
left of centre sounds. San Fransicos very own DELRAY will be providing the
visual stimulation for the night, using his own self developed software
for video manipulation DELRAY will present his beautifully obliterated
imagery through out the night.
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 up coming releases in 2004 on clever-music, worthy
records and his follow up full length to his 2002 noise factory release
called green nights orange days due out october 2004 and will include
tours to co-enside with this release in canada and europe in
october/november
and through out 2005.
HEXES & OHS
http://www.averticalmosaic.ca
Oh no, not another "couple" band! Yes, they are a couple, but they dont
sing about being a couple. In fact, the former "a vertical mosaic" twosome
Heidi Donnelly and Edmund Lam have played in bands together for so long
that
that kind of thing would have gotten old pretty quick. Instead they sing
about alienation and despair, with the occasional tongue-in-cheek
optimism,
accompanied by synths, sequencers and guitars. They look up to bands like
New Order, Simon & Garfunkel, the Velvet Underground, Stereolab and
Tortoise. They end up sounding more like: the Postal Service, the Pet Shop
Boys and Belle and Sebastian. Their brooding, infectious and
dance-inducing new album will be out on Noise Factory Records Spring 2005.
You'll dance and you'll cry.
NYBBL
http://www.nybbl.com
Combining sweet melodies, pulsating rhythms, field samples, and textures
culled from the world around us, nybbl interjects sweat and emotion into
the sterile landscape of digital music. Essentially a guitarist who was
courted by electronic music over the course of many years, nybbl attempts
to look past the accepted forms and genres of electronic music to a
boundaryless expression of heart and sound.
KHANFUCIUS
http://www.panospria.com
Local mixologist Khanfucius, has been providing various events in
Montreal, Winnipeg and Dublin, Ireland with a seamless blend of
IDM/ambient soundscapes and experimental music since 1996.
DELRAY
rx-tx, Reflective
newly transplanted to Montreal from San Francisco, spends most
of his time honing his video work and staying out of the cold. You'll
enjoy beautifully obliterated imagery delivered via his own custom
software. His performances have recently been featured at various
venues such as ISEA04, Nuspirit Helsinki, Nuit Blanche, and La Batie
Geneva to name just a few.
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Date: Wed, 03 Nov 2004 17:36:54 -0800
From: Scott Carver <xxxxxxx@x.xxxxxxxxxx.xxx>
Subject: [microsound] live microsound-related works
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Can anyone direct me towards interesting microsound-related live
performances (recordings of them, anyway). In particular, works that
don't easily fit into traditional kinds of dance music or
electroacoustic music performance arrangements....
Offlist replies are fine.
- Scott Carver
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From: xxxx@xxxxxxxxx.xx
Subject: Re: [microsound] live microsound-related works
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To: Scott Carver <xxxxxxx@x.xxxxxxxxxx.xxx>,
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i had the same request a few months ago;
here´s the essence:
check this first:
http://uhfest.underground.hu/
http://rla.web.fm
http://www.cognitionaudioworks.com
http://www.punck.net/ctrlaltcanc/ctrl01mugen.html
http://www.pachinkostudio.com/mugen/archives/000022.html
best
j ,.
On 3 Nov 2004 at 17:36, Scott Carver wrote:
> Can anyone direct me towards interesting microsound-related live
> performances (recordings of them, anyway). In particular, works that
> don't easily fit into traditional kinds of dance music or
> electroacoustic music performance arrangements....
>
> Offlist replies are fine.
>
> - Scott Carver
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
--Boundary_(ID_rvsL2k1hDimeItwpdThFlg)--
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Date: Thu, 04 Nov 2004 14:37:42 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] live microsound-related works
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Selections from the various Umatic artists:
___UMA01_MOIRA
http://www.umatic.nl/label_release01.html
Live-recordings from ImprovSession [March 5 2004, Moira, NL]
Featuring: 87Central [US/NL] Bas van Koolwijk [NL] Christian Toonk [NL]
Yannick Dauby [FR]
___PSYCHONAVIGATORS
http://umatic.nl/mp3/umatic-psychonavigators.mp3 [27.9 Mb]
From an audiovisual performance by Derek Holzer, Christian Toonk and
Bas van Koolwijk
___THECODEISWORKING
Video: http://umatic.nl/code.mov [88 Mb]
Audio: http://umatic.nl/audio/derek_holzer-the_code_is_working.mp3 [6.8 Mb]
Live audiovisual performance demo by Sara Kolster and Derek Holzer
___KOSTA
Edits of live improvisations featuring Oloolo [LV], Derek Holzer [US/NL]
and Maksim Borisovs [LV], released on the Nexsound label.
http://www.nexsound.org/ns22.html
Scott Carver wrote:
> Can anyone direct me towards interesting microsound-related live
> performances (recordings of them, anyway). In particular, works that
> don't easily fit into traditional kinds of dance music or
> electroacoustic music performance arrangements....
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 150:
"Take away the elements in order of apparent non-importance"
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Date: Thu, 04 Nov 2004 16:37:09 +0200
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comrades, i will be short to save your bandwidth ;)
Arturas Bumsteinas - Retorta ver.1 - ns32
Bumsteinas is a musician from Vilnius / Lithuania sometimes also working in interdisciplinary art duo G-LAB as video artist and performer. Retorta is a state of limpness and placidity, but it's not always a soul serenity. Sleep well.
http://www.nexsound.org/ns32.html
- .. - + , , .. +++> -
environmental music : http://www.nexsound.org
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From ???@??? Thu Nov 4 14:50:35 2004
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Subject: [microsound] Re: us citizens...
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i don't understand why "the president of the world" is again that silly oil businessman...strange things happen on Tatooine!
those who voted for him - except my apologies.
: PLEASE go out and vote today. Remember to encourage others to as well.
: Thanks!
:
:
:
: Brad
- .. - + , , .. +++> -
environmental music : http://www.nexsound.org
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>i don't understand why "the president of the world" is again that
>silly oil businessman...strange things happen on Tatooine!
to all citizens of other countries: don't judge us too harshly.
remember the race was still pretty close. at least half of us
disagree with this man, and many others are misled about his
policies, or discouraged/barred from voting.
orwell's "1984" grows more truthful each year.
d.
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better watch your tongue or we'll be bringing some "democracy" and
"freedom" to your neighborhood buddy...
why can't "you people" make some music us "good folk" can 2-step to?
On Thursday, November 4, 2004, at 07:50 AM, Andrey Kiritchenko wrote:
> i don't understand why "the president of the world" is again that
> silly oil businessman...strange things happen on Tatooine!
>
> those who voted for him - except my apologies.
>
> : PLEASE go out and vote today. Remember to encourage others to as
> well.
> : Thanks!
> :
> :
> :
> : Brad
>
> - .. - + , , .. +++> -
> environmental music : http://www.nexsound.org
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>
CommTom
Communications of Tomorrow
"it's only a day away"
unique electronic music for the adventurous ear.
http://www.commtom.com
--Boundary_(ID_N0x2CsQvWz4gKnGH2bIywg)--
From ???@??? Thu Nov 4 16:37:05 2004
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Date: Thu, 04 Nov 2004 11:36:30 -0500
From: Anthony Saunders <xxxxxxx@xxxxxxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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There was a recent poll that showed that about 70% of Bush voters could
not correctly identify Bush's policy positions, and that 70% also
thought there was a connection between iraq and 9/11 and that WMD's had
been found.
75% of Kerry voters understood their candidate's position and knew the
facts about Iraq/9-11, etc.
So, blame naivety, the dishonesty of the Bush administration, and the
unwillingness of the media to accuse the president of flat out lying.
some old punk rock lyrics I felt in my gut yesterday:
nine years into the future, we're still counting the dead and the
dying, still totalling the countless hidden victims of heightened state
terror, still believing of a peace and prosperity with millions living
on the streets and I've got to wonder what the fuck it's going to take,
can it be undone, can we stem the tide of violence, or are we gonna
sit back and relax and watch tv while the "have nots" get their heads
kicked in over and over and over again, keep counting the policies that
failed and the lies that worked, they worked, we swallowed them down
deep, swallowed them whole.
--nine years later, born against
anthony
On Nov 4, 2004, at 10:16 AM, chthonic streams wrote:
>
> to all citizens of other countries: don't judge us too harshly.
> remember the race was still pretty close. at least half of us
> disagree with this man, and many others are misled about his policies,
> or discouraged/barred from voting.
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From ???@??? Thu Nov 4 17:04:46 2004
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Date: Thu, 04 Nov 2004 12:09:44 -0500
From: Ben <xxxx@xxxxxxxxxx.xxx>
Subject: Re: [microsound] live microsound-related works
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see also
http://uhfest.underground.hu/
http://www.contour.net/
On Nov 4, 2004, at 4:13 AM, xxxx@xxxxxxxxx.xx wrote:
> i had the same request a few months ago;
> here´s the essence:
> check this first:
> http://uhfest.underground.hu/
>
> http://rla.web.fm
> http://www.cognitionaudioworks.com
> http://www.punck.net/ctrlaltcanc/ctrl01mugen.html
> http://www.pachinkostudio.com/mugen/archives/000022.html
>
> best
> j ,.
>
>
> On 3 Nov 2004 at 17:36, Scott Carver wrote:
>
>> Can anyone direct me towards interesting microsound-related live
>> performances (recordings of them, anyway). In particular, works that
>> don't easily fit into traditional kinds of dance music or
>> electroacoustic music performance arrangements....
>>
>> Offlist replies are fine.
>>
>> - Scott Carver
>>
>>
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>>
>
>
>
www.seasonalbk.net
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From ???@??? Thu Nov 4 17:23:14 2004
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Date: Thu, 04 Nov 2004 11:23:12 -0600
From: WATFIV <xxxxxxxx@xxxxx.xxx>
Subject: RE: [microsound] Re: us citizens... (OT)
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Correction: only 20% of the U.S. voted for Bush, the other 20-% for
Kerry. The rest of the us couldn't be bothered. Education and civic
responsibility are at the heart of the U.S.'s problems, IMHO.
Chris
> >i don't understand why "the president of the world" is again that
> >silly oil businessman...strange things happen on Tatooine!
>
> to all citizens of other countries: don't judge us too harshly.
> remember the race was still pretty close. at least half of us
> disagree with this man, and many others are misled about his
> policies, or discouraged/barred from voting.
>
> orwell's "1984" grows more truthful each year.
>
>
> d.
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From ???@??? Thu Nov 4 19:33:48 2004
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Date: Thu, 04 Nov 2004 14:33:38 -0500
From: Rob Theakston <xxxxxx@xxxxxxxx.xxx>
Subject: RE: [microsound] Re: us citizens... (OT)
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On behalf of those liberals who did vote against the Emperor, I have only
this to add to this discussion:
I am so terribly, emphatically, truly sorry.
We tried our best and gave it our all. Honest.
I could go into a discourse on the future dangers of what this could mean,
but I would be preaching to the choir.
We're not all that bad. Really.
back to hiding,
rt
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From ???@??? Thu Nov 4 19:35:22 2004
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Date: Thu, 04 Nov 2004 20:35:13 +0100 (MET)
From: Bas Van Heur <xxxxxxxxxx@xxx.xxx>
Subject: [microsound] Millenium Urban Soundscapes Project
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Hi,
Can anyone tell me if the recordings submitted to the Millenium Urban
Soundscapes Project curated by Chris Meloche in 1999 have been released?
thanks in advance,
Bas van Heur
editor / Cut.Up.Media.Magazine / www.cut-up.com
journalist / KindaMuzik / www.kindamuzik.net
lecturer / Institute of Media and Representation / Utrecht University /
www.let.uu.nl/umr
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From ???@??? Thu Nov 4 19:44:37 2004
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Date: Thu, 04 Nov 2004 14:49:32 -0500
From: Ben <xxxx@xxxxxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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the brainwashing has worked -
no apology needed - we are a minority
and within a failed election system -
votes are still being counted in ohio and Kerry yields.
onward -
On Nov 4, 2004, at 2:33 PM, Rob Theakston wrote:
>
> On behalf of those liberals who did vote against the Emperor, I have
> only
> this to add to this discussion:
>
>
> I am so terribly, emphatically, truly sorry.
>
>
> We tried our best and gave it our all. Honest.
>
>
> I could go into a discourse on the future dangers of what this could
> mean,
> but I would be preaching to the choir.
>
>
>
> We're not all that bad. Really.
>
>
>
> back to hiding,
> rt
>
>
>
>
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>
www.seasonalbk.net
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Date: Thu, 04 Nov 2004 13:00:27 -0700
From: devslashnull <xxx@xxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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preaching to the choir? making assumptions about microsounders'
political leanings.
progressive music need not be made by those with progressive politics.
speaking of "onward":
http://www.commtom.com/audio/PVoDD/4-onward_radio-edit.mp3
On Thursday, November 4, 2004, at 12:49 PM, Ben wrote:
> the brainwashing has worked -
>
> onward -
>
>>
>> but I would be preaching to the choir.
>>
>>
CommTom
Communications of Tomorrow
"it's only a day away"
unique electronic music for the adventurous ear.
http://www.commtom.com
--Boundary_(ID_5p5ZHLIZhyXkzHH0Jk5ixg)--
From ???@??? Thu Nov 4 20:12:35 2004
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Date: Thu, 04 Nov 2004 15:11:24 -0500
From: Rob Theakston <xxxxxx@xxxxxxxx.xxx>
Subject: RE: [microsound] Re: us citizens... (OT)
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Actually no. I wasn't. But thanks for trying to teach me a moral lesson.
Your music's good though.
-----Original Message-----
From: devslashnull [mailto:xxx@xxxxxxx.xxx]
Sent: Thursday, November 04, 2004 3:00 PM
To: microsound
Subject: Re: [microsound] Re: us citizens... (OT)
preaching to the choir? making assumptions about microsounders'
political leanings.
progressive music need not be made by those with progressive politics.
speaking of "onward":
http://www.commtom.com/audio/PVoDD/4-onward_radio-edit.mp3
On Thursday, November 4, 2004, at 12:49 PM, Ben wrote:
> the brainwashing has worked -
>
> onward -
>
>>
>> but I would be preaching to the choir.
>>
>>
CommTom
Communications of Tomorrow
"it's only a day away"
unique electronic music for the adventurous ear.
http://www.commtom.com
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Date: Thu, 04 Nov 2004 12:25:24 -0800
From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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At 1:00 PM -0700 11/4/04, devslashnull wrote:
>progressive music need not be made by those with progressive politics.
But why would a Regressive want to make progressive art? Isn't part
of Regressive politics the rejection of anything intellectual and
forward-thinking?
--
______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://RZCybernetics.com
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Subject: Re: [microsound] Re: us citizens... (OT)
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---------- Original Message ----------------------------------
From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Date: Thu, 4 Nov 2004 12:25:24 -0800
>At 1:00 PM -0700 11/4/04, devslashnull wrote:
>
>>progressive music need not be made by those with progressive
politics.
>
>But why would a Regressive want to make progressive art? Isn't
part
>of Regressive politics the rejection of anything intellectual and
>forward-thinking?
only to a progressive. and that assumes that the opposite is
regressive, while the opposite is usually conservative, which i take
to mean that some people want things to stay a certain way rather
than moving forward, but not moving back.
forward, march.
d.
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From ???@??? Thu Nov 4 20:48:30 2004
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From: Gregory Elliott <xxxxxxxx@xxxxxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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This brings up a question I would be interested in. It's hard
for me to imagine how someone on the right (or conservatives or
whatever you want to call them) could at the same time be an
artist of any kind and be interested in artistic issues
(actually I could imagine how they could be money minded
entertainers, but not artists). I would be interested to hear
from folks who are on the right and
who are also artists, and how they make that work without a
whole lot of
cognitive dissonance.
Greg
http://spagirus.ivdt.net
--- "chthonic" <xxxxxxxx@xxxxxxxxxxxxxxx.xxx> wrote:
From: "chthonic" <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Date: Thu, 4 Nov 2004 12:35:59 -0800
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
---------- Original Message ----------------------------------
From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Date: Thu, 4 Nov 2004 12:25:24 -0800
>At 1:00 PM -0700 11/4/04, devslashnull wrote:
>
>>progressive music need not be made by those with progressive
politics.
>
>But why would a Regressive want to make progressive art? Isn't
part
>of Regressive politics the rejection of anything intellectual
and
>forward-thinking?
only to a progressive. and that assumes that the opposite is
regressive, while the opposite is usually conservative, which i
take
to mean that some people want things to stay a certain way
rather
than moving forward, but not moving back.
forward, march.
d.
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On Thursday, November 4, 2004, at 01:25 PM, Richard Zvonar wrote:
> At 1:00 PM -0700 11/4/04, devslashnull wrote:
>
>> progressive music need not be made by those with progressive politics.
>
> But why would a Regressive want to make progressive art?
To lure progressives into their little traps. and then ship them all
off to places like "france".
> Isn't part of Regressive politics the rejection of anything
> intellectual and forward-thinking?
No.
CommTom
Communications of Tomorrow
"it's only a day away"
unique electronic music for the adventurous ear.
http://www.commtom.com
--Boundary_(ID_6MoQYdaQ2A/nrEWshwOmsg)--
From ???@??? Thu Nov 4 21:00:09 2004
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>This brings up a question I would be interested in. It's hard
>for me to imagine how someone on the right (or conservatives or
>whatever you want to call them) could at the same time be an
>artist of any kind and be interested in artistic issues
>(actually I could imagine how they could be money minded
>entertainers, but not artists). I would be interested to hear
>from folks who are on the right and
>who are also artists, and how they make that work without a
>whole lot of
>cognitive dissonance.
that's probably not the best way to start a conversation about this
kind of thing...there are barely-veiled insults in there that are
off-putting to the very people you hope to hear from.
having said that, i'm sure there's plenty of artists who "swing to the
right". vincent gallo is one, and i own both his CDs on warp. i
wouldn't call his music terribly "progressive", but i like it. i also
own several burzum CDs, and that guy is a total right-wing lunatic.
so glad he's in prison for 21 years.
d.
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Date: Thu, 04 Nov 2004 16:01:34 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] Re: us citizens... (OT)
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i have a brilliant musician friend (jazz guitar) who is a diehard
objectivist (as in ayn rand). he considers himself a libertarian but his
politics are pretty republican... we have some great debates, especially
concerning the purpose of art and artists. it's important to suround
oneself with people of varying political ideologies, i think, provided
they are intelligent, thoughtful, reasonable and like a good debate.
g.
Gregory Elliott wrote:
> This brings up a question I would be interested in. It's hard
> for me to imagine how someone on the right (or conservatives or
> whatever you want to call them) could at the same time be an
> artist of any kind and be interested in artistic issues
> (actually I could imagine how they could be money minded
> entertainers, but not artists). I would be interested to hear
> from folks who are on the right and
> who are also artists, and how they make that work without a
> whole lot of
> cognitive dissonance.
>
> Greg
>
> http://spagirus.ivdt.net
> --- "chthonic" <xxxxxxxx@xxxxxxxxxxxxxxx.xxx> wrote:
> From: "chthonic" <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
> Date: Thu, 4 Nov 2004 12:35:59 -0800
> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Subject: Re: [microsound] Re: us citizens... (OT)
> ---------- Original Message ----------------------------------
> From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Date: Thu, 4 Nov 2004 12:25:24 -0800
> >At 1:00 PM -0700 11/4/04, devslashnull wrote:
> >
> >>progressive music need not be made by those with progressive
> politics.
> >
> >But why would a Regressive want to make progressive art? Isn't
> part
> >of Regressive politics the rejection of anything intellectual
> and
> >forward-thinking?
> only to a progressive. and that assumes that the opposite is
> regressive, while the opposite is usually conservative, which i
> take
> to mean that some people want things to stay a certain way
> rather
> than moving forward, but not moving back.
> forward, march.
> d.
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Date: Thu, 04 Nov 2004 13:03:07 -0800
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>it's important to suround
>oneself with people of varying political ideologies, i think,
provided
>they are intelligent, thoughtful, reasonable and like a good
debate.
absolutely. the main probelm is that at some point in the debate
(very early on if the people involved are none of those things),
tempers tend to rise and all dignity goes out the window. kind of
like on some email lists!
d.
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Date: Thu, 04 Nov 2004 13:03:35 -0800
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Subject: Re: [microsound] Re: us citizens... (OT)
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At 12:35 PM -0800 11/4/04, chthonic wrote:
>that assumes that the opposite is regressive, while the opposite is
>usually conservative, which i take to mean that some people want
>things to stay a certain way rather than moving forward, but not
>moving back.
In my opinion many "conservatives" are actually misusing the term to
hide their true agenda, which is to turn back the clock.
Many political acts on the part of these "conservatives" are actually
meant to undo such gains as reproductive rights, environmental
protections, social programs, etc. and this means they are moving
back to a previous state prior to the establishment of these
progressive programs.
--
______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://RZCybernetics.com
--Boundary_(ID_8rNuiQ1QCSKD6OLKNrW9xw)--
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From: Gregory Elliott <xxxxxxxx@xxxxxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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>that's probably not the best way to start a conversation about this
>kind of thing...there are barely-veiled insults in there that are
>off-putting to the very people you hope to hear from.
I don't mean any of what I said to be insulting, and am not sure what would be taken as such other than the 'how could someone be conservative and an artist without a lot of cognitive dissonance?', particularly the 'cognitive dissonance' part. But, I don't mind my own political leanings shining through in the question, and that question is just what I'm trying to get a handle on. How can one make sense of being an arist, or being interested in artist issues, and still be a conservative? Help a lefty understand how someone on the right could smooth out the cognitive dissonance of their politics and their artistic pursuits/interests (or how there is no cognitive dissonance that arises at all) while knowing I'm not trying to insult anyone, just from my own standpoint, I don't know how else to frame the question.
Greg
http://spagirus.ivdt.net
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At 4:01 PM -0500 11/4/04, graham miller wrote:
>i have a brilliant musician friend (jazz guitar) who is a diehard
>objectivist (as in ayn rand). he considers himself a libertarian but his
>politics are pretty republican...
I think guitarists are exempt.
--
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> Richard wrote:
>
> Many political acts on the part of these "conservatives" are actually
> meant to undo such gains as reproductive rights, environmental
> protections, social programs, etc. and this means they are moving back
> to a previous state prior to the establishment of these progressive
> programs.
>
I think perhaps that these things are not seen as "gains" to those who
oppose them. On the contrary some of these thigs are seen as further
evidence of a "moral decay" in society, and social programs as the
intrusion of government on the "free market".
CommTom
Communications of Tomorrow
"it's only a day away"
unique electronic music for the adventurous ear.
http://www.commtom.com
--Boundary_(ID_cysD6GD6x3xAmLYLFHBRLA)--
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From: carl kruger <xxxxxx@xxxxx.xxx>
Subject: re: [microsound] (OT) so it's decided: up will remain down
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>There was a recent poll that showed that about 70%
>of Bush voters could not correctly identify Bush's
>policy positions...
this it?
pipa.org/OnlineReports/Pres_Election_04/Report10_21_04.pdf
wacky, zany stuff. a sobering read.
+++
also interesting...
http://www.tompaine.com/articles/kerry_won_.php
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From: devslashnull <xxx@xxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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some contend that the futurists were fascists.
On Thursday, November 4, 2004, at 02:09 PM, Richard Zvonar wrote:
> At 4:01 PM -0500 11/4/04, graham miller wrote:
>> i have a brilliant musician friend (jazz guitar) who is a diehard
>> objectivist (as in ayn rand). he considers himself a libertarian but
>> his
>> politics are pretty republican...
>
> I think guitarists are exempt.
> --
>
> ______________________________________________________________
> Richard Zvonar, PhD
> (818) 788-2202
> http://www.zvonar.com
> http://RZCybernetics.com
>
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>
>
CommTom
Communications of Tomorrow
"it's only a day away"
unique electronic music for the adventurous ear.
http://www.commtom.com
--Boundary_(ID_mdnQ1bLBkXnwRdoRlAk/Og)--
From ???@??? Thu Nov 4 21:49:11 2004
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Date: Thu, 04 Nov 2004 21:48:45 +0000
From: John Hopkins <xxxxxxxx@xxxx.xx>
Subject: Re: [microsound] Re: us citizens... (OT)
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>some contend that the futurists were fascists.
yeah, greed, ego, paranoia, and creativity can go hand-in-hand, as
can saintliness, generosity and a totally 'boring' personality...
people are mixed bags, every time, and even using the 'conservative'
and 'liberal' labels is a cheap shortcut to the polarity that reifies
human interaction. and those who are at the higher end of a power
heirarchy NEED that kind of polarization and reified thinking to keep
a grip on power. so, talk to your neighbor, bake brownies for 'em,
stay open, this is the only sure way to de-power the top strata of
idiots who are trying to engineer this regime...
jh
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Date: Thu, 04 Nov 2004 22:59:02 +0100
From: Gianluca Foglino <xxxxxxxx_xxxxxxx@xxx.xx>
Subject: Re: [microsound] Re: us citizens... (OT)
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Good Night Americaaaaaaa
another world is possible ... not now ........
gianluca
----- Original Message -----
From: "John Hopkins" <xxxxxxxx@xxxx.xx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Thursday, November 04, 2004 10:48 PM
Subject: Re: [microsound] Re: us citizens... (OT)
> >some contend that the futurists were fascists.
>
> yeah, greed, ego, paranoia, and creativity can go hand-in-hand, as
> can saintliness, generosity and a totally 'boring' personality...
> people are mixed bags, every time, and even using the 'conservative'
> and 'liberal' labels is a cheap shortcut to the polarity that reifies
> human interaction. and those who are at the higher end of a power
> heirarchy NEED that kind of polarization and reified thinking to keep
> a grip on power. so, talk to your neighbor, bake brownies for 'em,
> stay open, this is the only sure way to de-power the top strata of
> idiots who are trying to engineer this regime...
>
> jh
>
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From: Christos Carras <xxx@xxxxxx.xx>
Subject: Re: [microsound] Re: us citizens... (OT)
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devslashnull wrote:
> some contend that the futurists were fascists.
>
most futurists were definitely fascist and there are quite a few other
instances of very concervative artists producing very radical work. take
Schoenberg. he was absolutely confident that his achievement was to
revitalise the great german tradition, and certainly not to effectively
destroy it's very foundation.
anyway: from my perspective at the eastern end of europe two things
really worry me. 1) the election was won because of fear: all the main
themes - guns, gays, irak, al qaida, abortion - are related to some
dimension of fear - of the enemy, of ones own desires etc. 2) the
significance of any difference between a lie and a truthful assertion
has withered to nothing. this take us back to a Goebbels approach: if
you lie enough and consistently, it ends up by being perceived as true.
don't worry though, anyone who has any contact with the US knows that
you're not all a bunch of demented, fundamentalist, paranoid etc.
I hope you people find ways to make his second term *extremely*
unpleasant for him and even more so for the real political brains
running his show.
cc
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Date: Thu, 04 Nov 2004 17:55:38 -0500
From: richard chartier / LINE <xxxxxxxx@xxxxxxxxxx.xxx>
Subject: [microsound] RICHARD CHARTIER > 11.04 > news/event/release update >
sad days for the world
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dear all,
first of all thank you to the many of you who have contacted me within
the past 2 days to express your sorrow and disappointment at the
troubling outcome of the US presidential election. i am not usually
outwardly political person but i must say this: i am shocked and
horrified by the lack of thinking of 50% of this population. the
ignorant, greedy, and intolerant have spoken by succumbing to the fear
mongering and zealotry of his administration's campaign. as i now live
in washington dc, i must let you know that 91% of the votes by DC
citizens went to Kerry. Even bush's neighbors don't want him here.
regime change 2008?... i can only hope,
well.... on a lighter note.
today my redesigned website has been uploaded http://www.3particles.com
along with the redesigned LINE website http://www.12k.com/line
i hope you will have a chance to visit and enjoy the new design and
features,
richard
- NEW / RECENT RELEASES
> OUT NOW . Set or Performance [ LINE, US ] Live performance
recording release. recorded live to disc at VOLT/AA deep listening
event held at SAT [ Montreal, Canada ] 12/03.
> 4CD OUT NOW . Edition [ LINE, US ] special limited edition packaging
4 CD set entitled Edition. Edition is a collection of the 4 critically
acclaimed full length LINE cd releases: Series from 2000 (LINE_001), Of
Surfaces from 2002 (LINE_008), Two Locations from 2003 (LINE_013), and
the brand new live recording Set or Performance (LINE_018). special
re-packaging release is strictly limited to 100 signed and numbered
units. Lavishly yet simply designed, Edition is a double gatefold
package offset printed in 3 inks in which the CDs rest on high density
foam hubs separated by diecut vellum sheets. Liner notes from each
original sleeve are reprinted within. This cd will only be available
through the 12k/LINE website store, 3particles.com, and my live shows.
> OUT NOW 12"LP . (1.8)sec.comp Each artist has contributed a 1.8
second sound file to be a lock groove. Each work ends with another
artists' lockgroove. Includes tracks by Richard Chartier, Tim Hecker,
Mitchell Akiyama, Duul_Drv, Taylor Deupree, Kim Cascone, 3x3is9, Roel
Meelkop. on (1.8)sec.records [ Canada]. numbered edition of 500. on
white vinyl. TO PRE-ORDER THIS ITEM... PLEASE CONTACT ME DIRECTLY. I
SHOULD HAVE THEM IN STOCK SOON.
a very limited number of signed copies of these and other releases are
available via the ONLINE STORE: http://www.3particles.com/paypal
- ONLINE MUSIC
> FREE DOWNLOAD . Silver has been made available for free download as
part of the LOOP1 online compilation. http://www.loop.cl
or international users: LINK >
http://www.archive.org/audio/audio-details-db.php?
collection=soulseek_artists&collectionid=loop01
> DOWNLOAD . Of Surfaces + After and out of print 0/R (with *0/Nosei
Sakata) projects available via Apple's ITUNES Store.
> FREE DOWNLOAD . i was asked by William Basinski to create and hour
long mix for his SLIPSTREAM show presented online by PS1/MOMA's WPS1
ART RADIO. this has been completed and will be online this month with
track listing ... so check back soon. LINK >
http://www.wps1.org/include/shows/Sonorama.html
- CURRENT + UPCOMING EVENTS
> EXHIBIT . "Herein, Then" in Ecoute @ Centre Pompidou [ Paris, France
] Sept 2004-Jan 2005
> LIVE . Presences Electronique [ Paris, France ] February 19, 2005
> LIVE . CHESSMACHINE.2.0 @ Visual Music: See Hear Now LAMOCA [ Los
Angeles ] Late Feb 2005
> DJ . MIES @ Blueroom [ Washington, DC ] http://www.3particles.com/mies
> LIVE . 12k/LINE/Apestaartje showcase shows @ Tonic [ NYC ]
(postponed)
- UPCOMING RELEASES, ETC
> CD . Kapotte Muziek by Richard Chartier & Boca Raton. Korm Plastics.
November 2004. cds will be available through my online store on
3particles.com
> LP . Retrieval [ ERS, The Netherlands ] 2004. my first solo vinyl
release. Autumn 2004. This will be two works that were created at my
artist residency at the Music Research Centre @ York University, UK.
based on soundfiles and loops of mine from 1990-1993.
> BOOK . "On the surface of silence: reticence in the music of Richard
Chartier" by Will Montgomery in BLOCKS OF CONSCIOUSNESS AND THE
UNBROKEN CONTINUUM.
a really great indepth study of my work. Publisher: Sound 323. Editors:
Brian Marley+Mark Wastell. Fall 2004
> CD . Placode [ n160, Japan ] delayed: winter 2004/2005. This
elaborately aluminum packaged cd compilation curated by Nibo [
LINE/Raster-Noton] will contain the piece "retrieval#3(for placodes).
artists on this compilation: Carsten Nicolai, Christophe Charles, Frank
Bretschneider, Nibo, Byetone, Richard Chartier, Sachiko.M, Sogar, Steve
Roden, Taylor Deupree, and Otomo Yoshihide. http://www.n160.com
> 2CD . POST-POST-FABRICATED [ DSP Recordings, Italy ] Winter 2005.
This 2CD project will have the reformed/remastered Post-Fabricated CD
(originally issued on CDR on Dutch label Microwave in 1999 as an
edition of 200). I was never happy with the sound quality of the final
master due to the engineer and my analog recording limitations at the
time. I recently uncovered the original sound file elements backups and
have reconstructed it in its full digital vitality. This is an odd
recording for me, which you could say is my most "pop" release in its
quirky rhythmic elements. The second CD will be comprised of
remixes/reworkings from the original files by Frank Bretschneider, COH,
Taylor Deupree, Freiband, Goem, Carsten Nicolai, Byetone, Sogar, SND,
Asmus Tietchens, Vend, Matmos, Steve Roden, William Basinski, and
myself. Unreleased works from the 1998 sessions may be included as
well. http://www.dsprecs.com
> CD . SPEC.2 / Specification.fifteen with Taylor Deupree [ LINE ]
2005. initial work has begun on this collaboration. It will be based on
our collaborative performances in Rome and Madrid in March and our ICC
installation.
> PRINT . "L-NExtraction" LINE 5th anniversary print. limited edition
of 30 signed/numbered edition 4 color process iris graphic print on
archival rives BFK. more details to come.
> CD . Arrangements (working title) [ Raster-Noton. Germany ] 2005
>>>>>> CHARTIER ONLINE SHOP: http://www.3particles.com/paypal
<<<<<<<<<<<<<<<<<
--Boundary_(ID_ntAhASrfXBeFFL2mOwR5ZA)--
From ???@??? Thu Nov 4 23:19:24 2004
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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] RICHARD CHARTIER > 11.04 > news/event/release update
> sad days for the world
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he is a dark lord of the sith, after all.
richard chartier / LINE wrote:
> dear all,
> first of all thank you to the many of you who have contacted me within
> the past 2 days to express your sorrow and disappointment at the
> troubling outcome of the US presidential election. i am not usually
> outwardly political person but i must say this: i am shocked and
> horrified by the lack of thinking of 50% of this population. the
> ignorant, greedy, and intolerant have spoken by succumbing to the fear
> mongering and zealotry of his administration's campaign. as i now live
> in washington dc, i must let you know that 91% of the votes by DC
> citizens went to Kerry. Even bush's neighbors don't want him here.
> regime change 2008?... i can only hope,
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Re: futurists + fascistas
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hola list et al,
Actually, the futurists _were_ fascists; that's not contention but fact.
Marinetti was an avid supporter of Mussolini, in word and deed, and the
futurists embraced World War I.
See, for example,
Richard J. Golsan, Ed. _Fascism, Aesthetics, and Culture._ Hanover: UP
of New England, 1992.
However, I think it's fair to qualify Mussolini's fascism from Hitler's Nazi
party and its fascism. The level of street violence practiced by _any_
political party at the time is unbelievable, whether fascist, imperialist,
communist, anarchist, etc. There is a context to be carefully observed here
because it is twisted with our own.
Also, thinking here of another post, futurism is not fascism nor is it
conservatism nor neoconservatism. These are all quite different ideologies
with different agendas and goals. Some have melded more easily into others.
Don't forget the Republicans and the Democrats traded places in the US
mid-century. The left/right topology is anything but stable, and when
analyzing and comparing to earlier moments in history, this has to be kept
in mind -- sorry for coming off all lecture-like here, I guess I'm just
trying to point out two things today: 1. the fact of the neocons; 2. how
this is creating a new kind of authoritarianism that risks a new kind of
fascism. Futurism on the one hand and religious apocalypticism on the other
are also defining a current aesthetic-political spectrum that merges in the
mix of the digital.
So that's why this post is relevant.
If you're interested, I wrote a piece called "The Reverb Engine" on the
contemporary relation of technology to futurism. It features some words on
Kim Cascone, Tim Hecker, Russolo, Guy Debord, etc. It was written for Sonic
Acts X in Amsterdam ..
van Veen, tobias c. ³The Reverb Engine.² Ed. Arie Altena. In _Unsorted:
An A to Z for Sonic Acts X_, Paradiso: Amsterdam, 2004. pp. 104-110.
Come to think of it, I'm still looking for a place to publish the actual
talk I gave at the conference, which expands upon these themes.
cheers,
tV
> some contend that the futurists were fascists.
>
>
> On Thursday, November 4, 2004, at 02:09 PM, Richard Zvonar wrote:
>
>> At 4:01 PM -0500 11/4/04, graham miller wrote:
>>> i have a brilliant musician friend (jazz guitar) who is a diehard
>>> objectivist (as in ayn rand). he considers himself a libertarian but
>>> his
>>> politics are pretty republican...
>>
>> I think guitarists are exempt.
>> --
>>
>> ______________________________________________________________
>> Richard Zvonar, PhD
>> (818) 788-2202
>> http://www.zvonar.com
>> http://RZCybernetics.com
>>
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>> website: http://www.microsound.org
>>
>>
> CommTom
> Communications of Tomorrow
> "it's only a day away"
>
> unique electronic music for the adventurous ear.
>
> http://www.commtom.com
>
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++
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From: Carrera Linn Cultural Exchange <xxxx.xxxxx@xxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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graham miller wrote:
>i have a brilliant musician friend (jazz guitar) who is a diehard
>objectivist (as in ayn rand). he considers himself a libertarian but his
>politics are pretty republican... we have some great debates, especially
>concerning the purpose of art and artists. it's important to suround
>oneself with people of varying political ideologies, i think, provided
>they are intelligent, thoughtful, reasonable and like a good debate.
>
>g.
>
>Gregory Elliott wrote:
>
Greg;
You're absolutely correct. You don't have to agree with someone in
order to see their point of view.
Best,
Rudy
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Date: Thu, 04 Nov 2004 16:12:17 -0800
From: Carrera Linn Cultural Exchange <xxxx.xxxxx@xxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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Gregory Elliott wrote:
>>that's probably not the best way to start a conversation about this
>>kind of thing...there are barely-veiled insults in there that are
>>off-putting to the very people you hope to hear from.
>>
>>
>
>I don't mean any of what I said to be insulting, and am not sure what would be taken as such other than the 'how could someone be conservative and an artist without a lot of cognitive dissonance?', particularly the 'cognitive dissonance' part. But, I don't mind my own political leanings shining through in the question, and that question is just what I'm trying to get a handle on. How can one make sense of being an arist, or being interested in artist issues, and still be a conservative? Help a lefty understand how someone on the right could smooth out the cognitive dissonance of their politics and their artistic pursuits/interests (or how there is no cognitive dissonance that arises at all) while knowing I'm not trying to insult anyone, just from my own standpoint, I don't know how else to frame the question.
>
>Greg
>
>http://spagirus.ivdt.net
>
>
Hi Greg;
It's easy. If you like the music, or if you are passionate about
something, you go and do it. Your personal politics, religion or lack
of won't play a part in it. At least it doesn't for me. I've never
been able to understand the left's claim of exclusivity for new music,
but I may well be missing something.
Best,
Rudy
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From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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At 2:13 PM -0700 11/4/04, devslashnull wrote:
>>Richard wrote:
>>
>>Many political acts on the part of these "conservatives" are
>>actually meant to undo such gains as reproductive rights,
>>environmental protections, social programs, etc. and this means
>>they are moving back to a previous state prior to the establishment
>>of these progressive programs.
>>
>
>I think perhaps that these things are not seen as "gains" to those
>who oppose them. On the contrary some of these thigs are seen as
>further evidence of a "moral decay" in society, and social programs
>as the intrusion of government on the "free market".
Nevertheless these are results of the progressive movement in the
20th century. An attempt to undo them is an attempt to revert to an
earlier social condition and is therefore a regressive trend.
--
______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://RZCybernetics.com
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Andrey Kiritchenko wrote:
>i don't understand why "the president of the world" is again that silly oil businessman...strange things happen on Tatooine!
>
>those who voted for him - except my apologies.
>
It should be much less worse than having a president who is being
accused of decapitating a reporter, Andrey.
Rudy
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At 2:28 PM -0700 11/4/04, devslashnull wrote:
>some contend that the futurists were fascists.
They were certainly precursors of the Fascist movement. Marinetti in
particular was chummy with Mussolini.
--
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Richard Zvonar, PhD
(818) 788-2202
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On Fri, 05 Nov 2004 00:24:32 +0200, Christos Carras <xxx@xxxxxx.xx> wrote:
> anyway: from my perspective at the eastern end of europe two things
> really worry me. 1) the election was won because of fear: all the main
> themes - guns, gays, irak, al qaida, abortion - are related to some
> dimension of fear - of the enemy, of ones own desires etc.
The reason the repubs won this election was because they had 11
anti-gay marriage initiatives in a variety of states, including Ohio,
which brought out the religious ultra-conservatives, who, once they
cast their ballots on the initiatives, voted for Bush and the rest of
the repubs on the ballot. Without that group, which would have likely
stayed away from the polls because they are about as disaffected from
the moderate wing of the republican party as the average lefty is from
the democratic, Bush would have lost. This was a masterful tactic by
people like Karl Rove, a genius of political manipulation whom the
democrats are never going to trump as long as he's pulling the
strings.
As I put it on another list, "the republicans ass-fucked the American
public on a platform of anti-sodomy, but while that same public thinks
it's true love, they're going to find out it was only a one-night
stand." The US is going to go back to the early Reagan years and the
times of the preeminence of the Moral Majority. there's going to be a
big backlash against social tolerance and the neo-cons are going to be
braying for a few more wars in the Middle East.
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Date: Thu, 04 Nov 2004 16:50:31 -0800
From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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On Fri, 05 Nov 2004 00:24:32 +0200, Christos Carras <xxx@xxxxxx.xx> wrote:
>the election was won because of fear: all the main
>themes - guns, gays, irak, al qaida, abortion - are related to some
>dimension of fear - of the enemy, of ones own desires etc.
At 9:28 AM +0900 11/5/04, Bill Ashline wrote:
>The reason the repubs won this election was because they had 11
>anti-gay marriage initiatives in a variety of states, including Ohio,
>which brought out the religious ultra-conservatives, who, once they
>cast their ballots on the initiatives, voted for Bush and the rest of
>the repubs on the ballot.
I agree with both statements. The mobilization of the Evangelicals
(who tend to be a fearful and superstitious lot) was a masterful
tactic engineered by Karl Rove.
BTW - George Lakoff has some insights:
http://www.rockridgeinstitute.org/people/lakoff
--
______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://RZCybernetics.com
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Date: Thu, 04 Nov 2004 17:15:43 -0800
From: chthonic <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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>>>Many political acts on the part of these "conservatives" are
>>>actually meant to undo such gains as reproductive rights,
>>>environmental protections, social programs, etc. and this
means
>>>they are moving back to a previous state prior to the
establishment
>>>of these progressive programs.
>>I think perhaps that these things are not seen as "gains" to
those
>>who oppose them. On the contrary some of these thigs are
seen as
>>further evidence of a "moral decay" in society, and social
programs
>>as the intrusion of government on the "free market".
>Nevertheless these are results of the progressive movement in
the
>20th century. An attempt to undo them is an attempt to revert to an
>earlier social condition and is therefore a regressive trend.
i think it really depends on the point of view. because you believe
the opposite does not make your version the truth, any more than
theirs is.
to conservatives, they are not regressing as opposed to liberals'
progressing; they are simply trying to change the sway of things
from one way (not theirs) to another (their way).
even more likely, they believe *they* are simply stopping the
aforementioned "moral decay", which they would see as
regressive or destructive; in their eyes, they are the progressives
because they are attempting to lift mankind up to its highest peak,
while liberals want to allow everything to be debased and
degraded.
a constitutional amendment banning same-sex marriages is not a
reversion to an earlier social condition; thus, those supporting
such a thing can claim it is progressive.
i hope it's clear from my words i'm not saying this is correct or that i
agree with it, just hypothesizing and trying to understand the way
such minds work.
d.
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hello list-
i enjoy dearly the (usually) literate conversations that transpire
betwit the members of this list. i lurk in the shadows and simply read.
never felt too motivated to reply until now. i think (maybe i am alone)
people's personal opinions regarding only democracy, political parties,
voters, beliefs and morals or LACK of any, do not belong on this list. i
am certain if you must vent to another member, it can be done offlist.
just my opinion. besides, anything even remotely political... and i
delete without reading so carry on as you are if you must. just realise
'your' view is not the only view, so please be considerate as to not
shove it down others mouths and into their bellies. ty greatly and now
back to microsound related topics pls...
best.
dat
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Date: Thu, 04 Nov 2004 21:49:55 -0500
From: david golightly <xxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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FILETIME=[2505C8B0:01C4C2E2]
I second that... I know everyone's feeling strongly about the election right
now (myself included) but there are plenty of other mailing lists and online
discussions pertaining to this topic, and most of us count on this list to
spare us from politics.
>From: xxxxxxxxx@xxxxxxx.xxx
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] Re: us citizens... (OT)
>Date: Thu, 04 Nov 2004 19:26:52 -0700
>
>hello list-
>
>i enjoy dearly the (usually) literate conversations that transpire betwit
>the members of this list. i lurk in the shadows and simply read. never felt
>too motivated to reply until now. i think (maybe i am alone) people's
>personal opinions regarding only democracy, political parties, voters,
>beliefs and morals or LACK of any, do not belong on this list. i am certain
>if you must vent to another member, it can be done offlist. just my
>opinion. besides, anything even remotely political... and i delete without
>reading so carry on as you are if you must. just realise 'your' view is not
>the only view, so please be considerate as to not shove it down others
>mouths and into their bellies. ty greatly and now back to microsound
>related topics pls...
>
>best.
>
>dat
>
>
>
>
>
>
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>
_________________________________________________________________
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Date: Thu, 04 Nov 2004 21:50:59 -0500
From: david golightly <xxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] Hardware setup
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FILETIME=[491E0C80:01C4C2E2]
Now, to hardware...
I'm looking to spend less than US$1500 on good hardware for live electronic
performance. I've been doing electronic music for years now, but only
recording stuff to CD, then playing it back live... it's no fun for
subjecting an audience to.
I require:
-a laptop (PC/Windows pref.)
-a MIDI controller device (M-Audio or Behringer?)
-a soundcard (USB ok)
-anything I'm missing?
I'm fine with renting speakers/pwr amp for now, but the above is what I've
found to be bare minimum. What should I avoid? What do you all recommend?
Thanks!
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Date: Thu, 04 Nov 2004 21:57:53 -0500
From: Paulo Mouat <xxxxxxxxxx@xxxxxxxx.xxx>
Subject: RE: [microsound] Re: us citizens... (OT)
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Except that politics might be a strong influence on one's creative concerns
and direction.
//P
http://www.interdisciplina.org/00.0/
> -----Original Message-----
> From: xxxxxxxxx@xxxxxxx.xxx [mailto:xxxxxxxxx@xxxxxxx.xxx]
> Sent: Thursday, November 04, 2004 9:27 PM
> To: microsound
> Subject: Re: [microsound] Re: us citizens... (OT)
>
> hello list-
>
> i enjoy dearly the (usually) literate conversations that
> transpire betwit the members of this list. i lurk in the
> shadows and simply read.
> never felt too motivated to reply until now. i think (maybe i
> am alone) people's personal opinions regarding only
> democracy, political parties, voters, beliefs and morals or
> LACK of any, do not belong on this list. i am certain if you
> must vent to another member, it can be done offlist.
> just my opinion. besides, anything even remotely political...
> and i delete without reading so carry on as you are if you
> must. just realise 'your' view is not the only view, so
> please be considerate as to not shove it down others mouths
> and into their bellies. ty greatly and now back to microsound
> related topics pls...
>
> best.
>
> dat
>
>
>
>
>
>
> ---------------------------------------------------------------------
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> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>
>
>
>
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From: mik <xxxxx@xxx.xx>
Subject: Re: [microsound] Hardware setup
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a certain "david golightly" <xxxxxxxx@xxxxxxx.xxx> wrote:
> Now, to hardware...
> I'm looking to spend less than US$1500 on good hardware for live electronic
> performance. I've been doing electronic music for years now, but only
> recording stuff to CD, then playing it back live... it's no fun for
> subjecting an audience to.
> I require:
>
there are plenty of other mailing lists and online
discussions pertaining to this topic, and most of us count on this list to
spare us from hardware issues.
m
--
--------___________________________
hear me here: http://www.mprims.tk
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Subject: RE: [microsound] Re: politics and musical influence
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>Except that politics might be a strong influence on one's creative concerns
>and direction.
*COUGH* muslimgauze *COUGH*
d.
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Subject: Re: [microsound] Re: futurists + fascistas
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tobias c. van Veenwrote:
>
> hola list et al,
>
>
> Actually, the futurists _were_ fascists; that's not contention but fact.
> Marinetti was an avid supporter of Mussolini, in word and deed, and the
> futurists embraced World War I.
absolutely!
> However, I think it's fair to qualify Mussolini's fascism from Hitler's Nazi
> party and its fascism. The level of street violence practiced by _any_
> political party at the time is unbelievable, whether fascist, imperialist,
> communist, anarchist, etc. There is a context to be carefully observed here
> because it is twisted with our own.
I would be very careful in attempting to put a positive gloss on Mussolini's
Fascism. The politics of Mussolini's Fascist party privileged the rights of
the strong over the weak in a similar way to the Nazis. Hence they
victimised the sick and disabled, Gypsies, etc. They were just as inhuman in
this regard.
>
> Also, thinking here of another post, futurism is not fascism nor is it
> conservatism nor neoconservatism.
Some have called it Fascism (I'm thinking of Walter Benjamin's famous
remark) and I'm not sure that they are wrong. Futurism was guilty of
aestheticising politics (this was Benjamin's contention). This
aestheticisation of politics proceeded by the systematic application of
aesthetic judgements (judgements of taste) directly to political ideology.
Thus they glorified war as the supreme aesthetic/political experience. The
Nazis similarly aestheticised politics and this resulted in their being able
to presecute anyone not conforming to the aesthetic ideals of "racial
purity."
Jurgen Habermas arges that this type of fascism occurs when one of the three
autonomous spheres of modernity (aesthetics/art, religion/ethics,
logic/science) sets out to determine politics solely on its own terms. This
is currently most obvious in Islamic fundamentalism where politics is
determined prdominantly by religion. Christian fundamentalism posses an
equally dangerous outcome.
However, although the Futurists were Fascists, an although Futurism was
(arguably) a fascist ideology, this should not prevent us from examining
their ideas and gaining something from this process. Nor should we abandon
the works of Heidegger and De Man, who also fell under the spell of Fascism.
ian
>
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Date: Fri, 05 Nov 2004 05:38:23 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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What I might find more welcome here is explicitly relating the practice of
microsound to this and other political contexts. But all too often, I find
the "political" discussion on this list degenerates into name-calling and
shallow opining. The "futurist=fascist" thread has been interesting; what
more can we say on that and similar topics?
That said, someone on another list posted to the effect that the three
most taboo topics on any mailing list are 1) politics 2) religion and 3)
whether religion and/or politics should be discussed on a particular
mailing list.
P
> I second that... I know everyone's feeling strongly about the election right
> now (myself included) but there are plenty of other mailing lists and online
> discussions pertaining to this topic, and most of us count on this list to
> spare us from politics.
>
>
>> hello list-
>>
>> i enjoy dearly the (usually) literate conversations that transpire betwit
>> the members of this list. i lurk in the shadows and simply read. never felt
>> too motivated to reply until now. i think (maybe i am alone) people's
>> personal opinions regarding only democracy, political parties, voters,
>> beliefs and morals or LACK of any, do not belong on this list. i am certain
>> if you must vent to another member, it can be done offlist. just my
>> opinion. besides, anything even remotely political... and i delete without
>> reading so carry on as you are if you must. just realise 'your' view is not
>> the only view, so please be considerate as to not shove it down others
>> mouths and into their bellies. ty greatly and now back to microsound
>> related topics pls...
>>
>> best.
>>
>> dat
>>
>>
>>
>>
>>
>>
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>>
>
> _________________________________________________________________
> Don’t just search. Find. Check out the new MSN Search!
> http://search.msn.click-url.com/go/onm00200636ave/direct/01/
>
>
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From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Re: futurists + fascistas
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[snip]
> Jurgen Habermas arges that this type of fascism occurs when one of the three
> autonomous spheres of modernity (aesthetics/art, religion/ethics,
> logic/science) sets out to determine politics solely on its own terms. This
> is currently most obvious in Islamic fundamentalism where politics is
> determined predominantly by religion. Christian fundamentalism posses an
> equally dangerous outcome.
True enough, and well put, but is "fascism" really the right term here?
What does Islamic fundamentalism have to do with a bundle of sticks?
P
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Subject: Re: [microsound] Re: futurists + fascistas
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Phil Thomsonwrote:
> [snip]
>
>> Jurgen Habermas arges that this type of fascism occurs when one of the three
>> autonomous spheres of modernity (aesthetics/art, religion/ethics,
>> logic/science) sets out to determine politics solely on its own terms. This
>> is currently most obvious in Islamic fundamentalism where politics is
>> determined predominantly by religion. Christian fundamentalism posses an
>> equally dangerous outcome.
>
> True enough, and well put, but is "fascism" really the right term here?
> What does Islamic fundamentalism have to do with a bundle of sticks?
>
> P
Fascism, as I see it is a form of totalitarianism but also an ideology of
purity that will not tolerate any form of contagion from the impure. This
singularity elevates one race, religion, belief, or form above all others
and then actively seeks to persecute all exceptions. It does not do this
because it believes that these impure elements are a threat to it. It does
this simply because it believes that it is right, and that these elements
must simply not be allowed to exist. I see this process in religious
fundamentalism (also bear in mind that Hitler and the SS had their own brand
of weird occult fundamentalism).
On a side note, John Cage once described minimalist music as fascist.
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Date: Fri, 05 Nov 2004 11:58:05 +0200 (EET)
From: Oswald Grain <xxxxxx.xxxxx@xxx.xx>
Subject: Re: [microsound] Hardware setup+politics READ EVERYBODY
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-----Original Message-----
From: "mik" <xxxxx@xxx.xx>
Sent: 2004-11-05 05:52:42.56
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Hardware setup
there are plenty of other mailing lists and online
discussions pertaining to this topic, and most of us count on this list to
spare us from hardware issues.
well well, i strongly disagree here. this mail discourageing ppl from sending hardware topics and the situation on the list which allows topics like politics thrive in this list has made me write. i propose a filter for the list, i know a word filter is no good, and a gind of filter where one or more person(s) are reading the contents of all the lists mails before allowing them to the list is also no good, i propose a mind filter, meaning that everybody promices for him/herselfe not to write those topics (not even funny ones) to "this" list, we might even require a wiki site or sth similar noting the topics witch are not allowed in this list so even the ones who might go, "how to i know witch topics are not allowed, stupid system, bla bla...", can go and refresh their memories looking up that page. the ones who still write on those topics should be looked as ..........(i personaly would throw them off the list) the reason is noise, very disturbing trash info and even the topic name like "politics" streams out this trash. i dont want to be bombarded with such streams of trash and it distrubs me because i have left no choice, i can not escape them even in this list, which i see as a highly aprishiated art list, and (i know it is my personal problem) i dont see art and politics go hand in hand. it is even worse than spam mail. i resently made a new email just for lists so i can escape junk and all that trash, well now it has followed me to one of the lists, the next psycholigicaly logical step is to unsubscribe, but i think most of us understand what are the effects of that. in analog world we must choose all the sounds we make and the people we invite very carefully so unwilling people do not have to listen to them and reducing the risk unwelcome people show up. in digital world we must not forget that also, but here words are the sounds and lists are the invitations.
i realy hope my mail is of any help,(even when it might be confusing in some places) and hope that we will eliminate at least the most unwanted topics from this list - for EVER.
good day to all
Oswald Grain
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mik thinks;
> there are plenty of other mailing lists and online
> discussions pertaining to this topic, and most of us count on this list to
> spare us from hardware issues.
I disagree, though I took my reply to David off list. Admittedly most
typical microsound techniques are primarily computer music techniques, next
to impossible to implement on hardware (just for kicks I´m taking
"micorsound techniques" to mean those described in Road´s book) but there
are some exceptions. I had some amount of success implementing a version of
pulse train synthesis on a Serge Modular which alowed me to controll one
fundamental with a keyboard, the other with a light sensor.
Though the technique may at it´s core be the same, I asure you manually
controling it gives it a different feel from programing it all and a Serge
recorded to tape sounds quite different from, say, Csound rendered to hd. I
strongly feel that arteficially limiting ourselves to just computer based
systems is counterproductive. Admittedly there would be better places to
compare the feel of different stage pianos or the batery life of guitar
pedals but "outlawing" all talk of hardware in general is a step too far for
my tastes.
Respectfully yours.
Kas.
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Date: Fri, 05 Nov 2004 11:16:05 +0100
From: henk b <xxxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Re: futurists + fascistas
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"Microsound is an unmediated mailing list dedicated to informed comment and
discussion of experimental digital and post-digital music."
if i want to join a newsgroup or a forum about politics i would, but not
here on this one please
henk
> Van: Ian Andrews <x.xxxxxxx@xxxxxxxxxxx.xxx.xx>
> Beantwoord: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Datum: Fri, 05 Nov 2004 15:03:48 +1100
> Aan: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Onderwerp: Re: [microsound] Re: futurists + fascistas
>
> tobias c. van Veenwrote:
>
>>
>> hola list et al,
>>
>>
>> Actually, the futurists _were_ fascists; that's not contention but fact.
>> Marinetti was an avid supporter of Mussolini, in word and deed, and the
>> futurists embraced World War I.
>
> absolutely!
>
>> However, I think it's fair to qualify Mussolini's fascism from Hitler's Nazi
>> party and its fascism. The level of street violence practiced by _any_
>> political party at the time is unbelievable, whether fascist, imperialist,
>> communist, anarchist, etc. There is a context to be carefully observed here
>> because it is twisted with our own.
>
> I would be very careful in attempting to put a positive gloss on Mussolini's
> Fascism. The politics of Mussolini's Fascist party privileged the rights of
> the strong over the weak in a similar way to the Nazis. Hence they
> victimised the sick and disabled, Gypsies, etc. They were just as inhuman in
> this regard.
>>
>> Also, thinking here of another post, futurism is not fascism nor is it
>> conservatism nor neoconservatism.
>
> Some have called it Fascism (I'm thinking of Walter Benjamin's famous
> remark) and I'm not sure that they are wrong. Futurism was guilty of
> aestheticising politics (this was Benjamin's contention). This
> aestheticisation of politics proceeded by the systematic application of
> aesthetic judgements (judgements of taste) directly to political ideology.
> Thus they glorified war as the supreme aesthetic/political experience. The
> Nazis similarly aestheticised politics and this resulted in their being able
> to presecute anyone not conforming to the aesthetic ideals of "racial
> purity."
> Jurgen Habermas arges that this type of fascism occurs when one of the three
> autonomous spheres of modernity (aesthetics/art, religion/ethics,
> logic/science) sets out to determine politics solely on its own terms. This
> is currently most obvious in Islamic fundamentalism where politics is
> determined prdominantly by religion. Christian fundamentalism posses an
> equally dangerous outcome.
>
> However, although the Futurists were Fascists, an although Futurism was
> (arguably) a fascist ideology, this should not prevent us from examining
> their ideas and gaining something from this process. Nor should we abandon
> the works of Heidegger and De Man, who also fell under the spell of Fascism.
>
> ian
>>
>
>
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Date: Fri, 05 Nov 2004 11:37:10 +0100
From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] R:[microsound] Re: us citizens... (OT)
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> if you read the etimolology of the word ³politic² and you understand that it
> concern our life you will realize that politic is never off topic.
>
>
> hello list-
>
> i enjoy dearly the (usually) literate conversations that transpire
> betwit the members of this list. i lurk in the shadows and simply read.
> never felt too motivated to reply until now. i think (maybe i am alone)
> people's personal opinions regarding only democracy, political parties,
> voters, beliefs and morals or LACK of any, do not belong on this list. i
> am certain if you must vent to another member, it can be done offlist.
> just my opinion. besides, anything even remotely political... and i
> delete without reading so carry on as you are if you must. just realise
> 'your' view is not the only view, so please be considerate as to not
> shove it down others mouths and into their bellies. ty greatly and now
> back to microsound related topics pls...
>
> best.
>
> dat
>
>
>
>
>
>
> ---------------------------------------------------------------------
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From ???@??? Fri Nov 5 10:39:40 2004
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From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] R:[microsound] Re: us citizens...
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> Andrey Kiritchenko wrote:
>
>> >i don't understand why "the president of the world" is again that silly oil
>> businessman...strange things happen on Tatooine!
>> >
>> >those who voted for him - except my apologies.
>> >
> It should be much less worse than having a president who is being
> accused of decapitating a reporter, Andrey.
>
I don¹ t see any difference from decapitating a reporter or bombing and
killing thousands civilians
Marco messina
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From ???@??? Fri Nov 5 10:43:16 2004
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Date: Fri, 05 Nov 2004 11:45:54 +0100
From: henk b <xxxxxxx@xxxxxx.xx>
Subject: Re: [microsound] R:[microsound] Re: us citizens... (OT)
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take it off list
> Van: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
> Beantwoord: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Datum: Fri, 05 Nov 2004 11:37:10 +0100
> Aan: "microsound <xxxxxxxxxx@xxxxxxxxx.xxx>" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Onderwerp: [microsound] R:[microsound] Re: us citizens... (OT)
>
>> if you read the etimolology of the word ³politic² and you understand that it
>> concern our life you will realize that politic is never off topic.
>>
>>
>> hello list-
>>
>> i enjoy dearly the (usually) literate conversations that transpire
>> betwit the members of this list. i lurk in the shadows and simply read.
>> never felt too motivated to reply until now. i think (maybe i am alone)
>> people's personal opinions regarding only democracy, political parties,
>> voters, beliefs and morals or LACK of any, do not belong on this list. i
>> am certain if you must vent to another member, it can be done offlist.
>> just my opinion. besides, anything even remotely political... and i
>> delete without reading so carry on as you are if you must. just realise
>> 'your' view is not the only view, so please be considerate as to not
>> shove it down others mouths and into their bellies. ty greatly and now
>> back to microsound related topics pls...
>>
>> best.
>>
>> dat
>>
>>
>>
>>
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>
>
>
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Date: Fri, 05 Nov 2004 10:59:54 +0000
From: Richard Whitelaw <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] R:[microsound] Re: us citizens... (OT)
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For those who follow digital arts lists out of interest in the bigger
picture and for the opinions of the community and how those opinions relate
to their aesthetic rather than for techie stuff this has been a really
interesting, and comforting, few days. I have read many more posts with
interest over the last couple of days than I normally would. I delete all
techie stuff instantly, no offence, but that is not why I am on the list.
I know I am not alone as well.
Best wishes
Richard
On 5/11/04 10:45 am, "henk b" <xxxxxxx@xxxxxx.xx> wrote:
> take it off list
>
>> Van: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
>> Beantwoord: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Datum: Fri, 05 Nov 2004 11:37:10 +0100
>> Aan: "microsound <xxxxxxxxxx@xxxxxxxxx.xxx>" <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Onderwerp: [microsound] R:[microsound] Re: us citizens... (OT)
>>
>>> if you read the etimolology of the word ³politic² and you understand that it
>>> concern our life you will realize that politic is never off topic.
>>>
>>>
>>> hello list-
>>>
>>> i enjoy dearly the (usually) literate conversations that transpire
>>> betwit the members of this list. i lurk in the shadows and simply read.
>>> never felt too motivated to reply until now. i think (maybe i am alone)
>>> people's personal opinions regarding only democracy, political parties,
>>> voters, beliefs and morals or LACK of any, do not belong on this list. i
>>> am certain if you must vent to another member, it can be done offlist.
>>> just my opinion. besides, anything even remotely political... and i
>>> delete without reading so carry on as you are if you must. just realise
>>> 'your' view is not the only view, so please be considerate as to not
>>> shove it down others mouths and into their bellies. ty greatly and now
>>> back to microsound related topics pls...
>>>
>>> best.
>>>
>>> dat
>>>
>>>
>>>
>>>
>>>
>>>
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>>
>>
>>
>>
>
>
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From ???@??? Fri Nov 5 11:00:31 2004
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From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] R:[microsound] R:[microsound] Re: us citizens... (OT)
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> tell me why
>
>
>
> take it off list
>
>> > Van: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
>> > Beantwoord: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> > Datum: Fri, 05 Nov 2004 11:37:10 +0100
>> > Aan: "microsound <xxxxxxxxxx@xxxxxxxxx.xxx>" <xxxxxxxxxx@xxxxxxxxx.xxx>
>> > Onderwerp: [microsound] R:[microsound] Re: us citizens... (OT)
>> >
>>> >> if you read the etimolology of the word ³politic² and you understand that
it
>>> >> concern our life you will realize that politic is never off topic.
>>> >>
>>> >>
>>> >> hello list-
>>> >>
>>> >> i enjoy dearly the (usually) literate conversations that transpire
>>> >> betwit the members of this list. i lurk in the shadows and simply read.
>>> >> never felt too motivated to reply until now. i think (maybe i am alone)
>>> >> people's personal opinions regarding only democracy, political parties,
>>> >> voters, beliefs and morals or LACK of any, do not belong on this list. i
>>> >> am certain if you must vent to another member, it can be done offlist.
>>> >> just my opinion. besides, anything even remotely political... and i
>>> >> delete without reading so carry on as you are if you must. just realise
>>> >> 'your' view is not the only view, so please be considerate as to not
>>> >> shove it down others mouths and into their bellies. ty greatly and now
>>> >> back to microsound related topics pls...
>>> >>
>>> >> best.
>>> >>
>>> >> dat
>>> >>
>>> >>
>>> >>
>>> >>
>>> >>
>>> >>
>>> >> ---------------------------------------------------------------------
>>> >> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> >> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> >> website: http://www.microsound.org
>>> >>
>> >
>> >
>> >
>
>
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Subject: Re: [microsound] Re: us citizens... (OT)
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"What I might find more welcome here is explicitly relating the practice
of microsound to this and other political contexts. But all too often, I
find the "political" discussion on this list degenerates into
name-calling and shallow opining. The "futurist=fascist" thread has been
interesting; what more can we say on that and similar topics? " posted
earlier by xxxxxxxx@xxxxxxxxx.xxx
"i think (maybe i am alone) people's personal opinions regarding
*_only_* democracy, political parties, voters, beliefs and morals or
LACK of any, do not belong on this list. i am certain if you must vent
to another member, it can be done offlist." posted earlier by datetmyer-
exactly my sentiments as well. that is why i stated opinions regarding
ONLY etc etc. i think somebody earlier posted that what if 'politics is
their motivation for inspiration at this time' (or something to that
effect). this i do not mind and find welcoming, for ANYTHING that
motivates ones creativeness, is open to discussion for me. or in my
case, reading from the shadows : P
best-
dat
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From: xxxxxxxx@xxx.xxx
Subject: Re: [microsound] RICHARD CHARTIER > 11.04 > news/event/release update
> sad days for the world
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In a message dated 4/11/04 10:52:46 pm, xxxxxxxx@xxxxxxxxxx.xxx writes:
>i am shocked and
>horrified by the lack of thinking of 50% of this population. the
>ignorant, greedy, and intolerant have spoken by succumbing to the fear
>mongering and zealotry of his administration's campaign.
It was at this point that I stopped reading peoples messages and started
deleting.
How small minded of you to generalise in such a way.
regards
Rob
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From ???@??? Fri Nov 5 12:22:47 2004
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Date: Fri, 05 Nov 2004 13:22:35 +0100
From: mik <xxxxx@xxx.xx>
Subject: Re: [microsound] Hardware setup
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a certain "Kassen" <xxxxxx@xxxxxx.xxxx.xx> wrote:
> mik thinks;
>
> > there are plenty of other mailing lists and online
> > discussions pertaining to this topic, and most of us count on this list to
> > spare us from hardware issues.
>
> Though the technique may at it´s core be the same, I asure you manually
> controling it gives it a different feel from programing it all and a Serge
> recorded to tape sounds quite different from, say, Csound rendered to hd. I
> strongly feel that arteficially limiting ourselves to just computer based
> systems is counterproductive. Admittedly there would be better places to
> compare the feel of different stage pianos or the batery life of guitar
> pedals but "outlawing" all talk of hardware in general is a step too far for
> my tastes.
i wast citing mr. grain, replacing politics by hardware. i think neither should be "outlawed".
m
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From ???@??? Fri Nov 5 14:24:16 2004
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Date: Fri, 05 Nov 2004 06:24:11 -0800 (PST)
From: Dale Lloyd <xxxxx@xxx-xxx.xxx>
Subject: [microsound] (new list members read the first paragraph) Re: us
citizens... (OT)
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> That said, someone on another list posted to the effect that the three
> most taboo topics on any mailing list are 1) politics 2) religion and 3)
> whether religion and/or politics should be discussed on a particular
> mailing list.
You forgot one: promo e-mails.
It seems that the people who complain the most about "off topic" e-mails
are often the ones that haven't been on this list very long. This list group
has always discussed politics in one way or another, just as it has
always had promo posts for music pertaining to the focus of this list
group. I would actually be surprised if I didn't see anyone talking about
the US election here. I would think that one main purpose of discussing
such things here is to hear how people in this sound art community feel
about certain current issues. If I want to hear how people outside of this
community feel about it, then that's when I would go to a different forum.
Oh, and I just found copies of the latest Richard Chartier release and
Steinbruchel's Circa (now out of print). As is often the case with these
artists, very nice works! I'm looking forward to hearing Ralph's latest
release on BineMusic. I've also been listening to Broadcast a lot lately...
:)
----------------------------------------------------------------------------------
Warning: political commentary below
----------------------------------------------------------------------------------
As for myself, I too am not usually prone to political comments on
public forums, but being a citizen of the US (and non-partisan), I feel that
this is indeed a travesty. For those who voted for the Bush administration
or vote Republican please try to understand that the majority of Republican politicians spend way too much time trying to force the rest of the country (and world) to live and think the way they do by trying to implement and pass far reaching bills into law that encroach upon people's liberties while preaching in the name of "freedom". And what about the environment? I'm constantly signing petitions against Republican led bills that don't take the global environment into important consideration. And the list goes on and on...
The Bush administration has painted themselves into a corner by
extending their term. They now have to face the catastrophies they've
caused during the first 4 years and try to turn things around or face the
wrath of its own country and the world.
Ok, I'm done. If you've made it this far, thanks for reading.
Best Wishes to all, Dale
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From ???@??? Fri Nov 5 14:44:04 2004
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From: Dale Lloyd <xxxxx@xxx-xxx.xxx>
Subject: Re: [microsound] RICHARD CHARTIER > 11.04 > news/event/release update
> sad days for the world
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>>i am shocked and
>>horrified by the lack of thinking of 50% of this population. the
>>ignorant, greedy, and intolerant have spoken by succumbing to the
>> fear mongering and zealotry of his administration's campaign.
> It was at this point that I stopped reading peoples messages and
> started deleting. How small minded of you to generalise in such a way.
Well, with all due respect Rob, I think it's rather small minded and easy
for someone in another country to criticize the feelings of someone
else who lives in one such as this one at a time such as this. This is a
huge far reaching issue that will effect generations to come, whether
they are .micronauts or the average Jane or Joe who doesn't give a f
flying iota about micro-lowercase or whatever-you-wanna-call-it type of
music.
The same goes for people who would rather read the posts by .micropundits who flex and exercise their mental muscles with politico-philosophical discourse. Have patience. It's all good.
Best, Dale
--Boundary_(ID_uQXi2Z4SGJbvuMGuyys+mQ)--
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From: devslashnull <xxx@xxxxxxx.xxx>
Subject: [microsound] tolerance: aesthetics: microsound
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what has been interesting to me in all the recent posts related to
politics/fascism/futurists, etc. (and which was my original interest
and motivation in participating in said discussion) is in discovering
and discussing the relationship of microsound techniques/aesthetics of
the practicioners on the list to an underlying purist "fascism".
Ian Andrews mentioned that John Cage once described minimalist music as
fascist. In many discussions on the list there are typically posts that
tend to place "true" microsound practices solely in the realm of "pure"
programming and mathematics, discounting those whose artistic practice
utilizes a more inclusive palette of techniques, sources and approaches.
I have always identified with the use of the "post-digital" term, since
for me it seemed to cut the tether on much of this purist approach to
making music with digital technology, in much the same way that
"post-modern" seemed to signify a break with the modernist approach
where very stringent rules surrounding materials, tools and aesthetic
approaches gradually shifted creative output into very narrow and
increasingly irrelevant terrain.
I often get the impression on this list that many practicioners of
"microsound" place themselves in a similar position aesthetically.
Not to discount the variety and diversity of approaches to audio
production and music composition I am exposed to via this list, there
does at times, arise a foul scent of fascism (per Cage's use of the
term).
CommTom
Communications of Tomorrow
"it's only a day away"
unique electronic music for the adventurous ear.
http://www.commtom.com
--Boundary_(ID_rMz+h1PiNDfpgL4yZXAdfw)--
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Date: Fri, 05 Nov 2004 10:30:07 -0500
From: stephen hastings-king <xxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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i want to echo what was noted earlier--to my mind, the political extends
to thinking about any and all of the various modes that shape your sense
of imbrication in the world, your view of the world itself, etc.
this encompasses the modes of taking a distance on the tradition
relative to which one works when structuring sound---being able to
understand a tradition as a set of devices to be referred to, as
materials and rules that can be manipulated, violated, crossed and
recrossed is a function of a mode of engagement that is in itself
political.
from this viewpoint, it does not matter if that sense of
authorization--which underpins the ability to operate at a distance from
modes of thinking that present themselves as dominant--is worked out
practically or explicitly.
nor does it matter whether individual cultural workers make for
themselves a distinction between what their work is and politics in the
conventional sense--this would be understood as an option within the
wider field of the political. it would not work to make a seperation in
principle between cultural production and the political.
it is interesting that this cultural politics--for lack of a better
shorthand--may or may not cross with, may or may not be informed by
positions articulated in the field of "politics" (in the narrower sense.
for me, at least, this split is in itself a symptom of the situation in
which we operate.
it is a matter than can and--for me at least--should be thought about.
thinking about the conditions of possibility of this split and the
effects of it is an avenue for working out a different type of
reflexivity in my work.
so i do not see any grounds for attempts to police the content of this
list by trying to drive a wedge between matters that pertain to how you
operate with reference to sound and those matters that, directly or
indirectly, serve to socially situate that way of operating.
most of the people i know who are engaged with making things and who
find themselves, for one reason or another, stranded in the states are
actively engaged with trying to work out how to continue functioning in
an appalling political context. i see this as a necessary period of
adjustment. i think this period of adjustment itself raises interesting
questions about the political nature of producing music.
i do not see it becoming a permanent feature of every discussion.
stephen
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Re: futurists + fascistas
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zot,
>> However, I think it's fair to qualify Mussolini's fascism from Hitler's Nazi
>> party and its fascism. The level of street violence practiced by _any_
>> political party at the time is unbelievable, whether fascist, imperialist,
>> communist, anarchist, etc. There is a context to be carefully observed here
>> because it is twisted with our own.
>
> I would be very careful in attempting to put a positive gloss on Mussolini's
> Fascism.
Just for the record: I never mentioned such a positivity. Only a
distinction.
> The politics of Mussolini's Fascist party privileged the rights of
> the strong over the weak in a similar way to the Nazis. Hence they
> victimised the sick and disabled, Gypsies, etc. They were just as inhuman in
> this regard.
Agreed--
More aptly, Human, All Too Human (Nietzsche).
> Nor should we abandon
> the works of Heidegger and De Man, who also fell under the spell of Fascism.
Then there's T.S. Eliot, whom I think was profoundly more belligerently
fascist than de Man (whom I would hesitate to call a fascist, after finally
getting around to reading his contested newspaper columns), and Heidegger,
whom I think thought was doing something rather different than what was
going on, his Rectorship speech notwithstanding. Eliot actively supported
the fascists.
But again, historical context: other fascist supporters included the ex-King
of England, Edward VIII, and a good number of European politicians who saw
it as a way to revitalize the glory of Europe. This doesn't excuse it. It
just places it in the same light we need to view neoconservatism today: a
lot of people accept it and like it.
In one of the 2003 issues of PMLA (you'll excuse me if I can't remember.. I
tried to find it but I think I lent away my copies) there is a new
translation of one of Eliot's Cantos with a summary as to the radio
broadcasts he was producing at the time for Mussolini. The imagery is
extraordinarily violent. And I so love "The Wasteland"!
In any case, I will try and hunt it down. The connection of Eliot's
difficult imagery (he alluded to much in few words) to radio (his rants, his
broadcasts) I think are interesting here in terms of connecting to the
emerging systems of dissemination, ie of technology and its system of
spreading itself around, which we often take for granted today. Microsound
and digital systems are a descendent of this thinking .. Brian Massumi has
an interesting chapter on the analogue/digital distinction worth reading in
_Parables for the Virtual_ where, although he defends the digital from being
called totalitarian, recognises its strictly delimiting schema of
_possibilities_.
For Massumi, the digital is _less_ connected to the virtual (potential) than
the analogue. This is, btw, a strong argument against anyone trying to
connect microsound to Deleuze. The internet is NOT a rhizome; it is a system
of possibilities. Its potential, argues Massumi, is always analogue: it
arises when WE interact with a system of possibilities.
I think this can tie into thoughts on futurism, early radio, Marinetti...
There's more to it but I've got to run.
best,
tV
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Re: futurists + fascistas
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Yes.
Pound. Pound. Pound.
My mistake; either too much or too little coffee this morning.
(Was Eliot also inclined toward fascism? I won't trust my memory at the
moment;)
Thanks for the correction.
Geesh.
best, tV
> hi
>
> ( 04.11.05 10:40 -0500 ) tobias c. van Veen:
>> Then there's T.S. Eliot, whom I think was profoundly more belligerently
>> fascist than de Man
>> there is a new
>> translation of one of Eliot's Cantos with a summary as to the radio
>> broadcasts he was producing at the time for Mussolini.
>
> don't you mean ezra pound?
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++
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Subject: Re: [microsound] Re: futurists + fascistas
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hi
( 04.11.05 10:40 -0500 ) tobias c. van Veen:
> Then there's T.S. Eliot, whom I think was profoundly more belligerently
> fascist than de Man
> there is a new
> translation of one of Eliot's Cantos with a summary as to the radio
> broadcasts he was producing at the time for Mussolini.
don't you mean ezra pound?
--
\js *~ -&'|@.' ] 'http://or8.net/~johns "@.^
iraq body count: 14,219 [min] 16,352 [max]
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Date: Fri, 05 Nov 2004 17:23:45 +0100
From: douglas benford <xxxxxxx@xxxxx.xxxxx.xx.xx>
Subject: [microsound] London: Sprawl Nov. w. FM3 / Starks / Czinczel / Garrelfs
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================================
S P R A W L November 2004 bulletin
================================
SPRAWL at the Charterhouse Bar
** THE LAST SPRAWL OF 2004! **
DATE: weds 10th November
live line up:
FM3 (Bip Hop, Staalplaat) - live
fm3 play quiet music. very, very quiet music. The kind of music that
turns up your ears and makes you sit. Very, very still... Some
reviewers describe fm3's live act as "daring." Audience members
often call it "cathartic." Others say listening to fm3 is painful... fm3 is
US-born but long-term China resident Christiaan Virant. Active
in the Beijing music underground for nearly a decade, Virant
founded fm3 in late 1999 as China's first-ever experiment in live,
abstract electronica. Working with lo-fi computer software and
a host of home-built instruments, fm3 distills ancient Chinese
folk tradition into a barely-there organic glow.
GAVIN STARKS - live
After being Experimental Officer at radio telescope
Jodrell bank (with a degree in Radio Astronomy), Gavin now
produces rich provocative sounds from its processed data &
cosmological radio recordings - he recently performed some
pieces at the Virac telesope in Latvia - and is known also as a software
developer, internet broadcaster, studio consultant, investigator
of virtual reality audio & computer musics.
http://www.dgen.net/biog/gavinstarks.htm
IRIS GARRELFS (Bip Hop) - live
Iris Garrelfs (formerly BitTonic), musician and co-curator of Sprawl; has
recorded tracks for numerous compilation albums, and has also collaborated
with Freeform, Robert Lippok (to rococo rot), Kaffe Matthews, Scanner
and others. She has also played at the CCA, ICA, the Scala, Podewil (Berlin)
The Batofar (Paris), plus created installations for Glasgow's CCA,
Watermans art centre, Marseille's Arborescence festival, Reading's Art at
the Centre/city stages; her debut album due out soon on Bip hop.
http://www.dfuse.com/BitTonic
http://www.dfuse.com/iris
GUEST DJ
ALEX CZINCZEL (Horse Hosiptal/Germany)
German born purveyor of fine obscurities (eg Moondog, Mapstation)
and resident DJ and curator at the infamous Horse Hospital, Alex
has impeccable taste.
resident dj + curator
si-cut.db (uk/bip hop/fallt/highpoint lowlife/tennis)
VENUE
Upstairs at the Charterhouse bar
38 Charterhouse Street
London EC1
tel: 020 7608 0858
email: xxxx@xxxxxxxxxxxxxxx.xx.xx
http://www.charterhousebar.co.uk
ADMISSION 4 pounds, concs. 3 pounds 7.30pm - 11.30pm
Next Sprawls in 2005:
* NINTH BIRTHDAY EDITION, Jan 12th: Pirandelo (italy/mou-lips),
Katzo (Countenance, jp), J-Lab tbc, o.acam (miso)
* INTERPLAY 3: Feb 9 & 10: acts TBC at The Spitz
* Sprawl March 9: Tuner (Fr), The Bohman Brothers, Rashamon, e/n
[no.signal] TBC.
On the radio:
Next Sprawl Small Pieces show: November 19th; a special on
radio telescopes with guests Honor Harger & Gavin Starks (tbc)
Sprawl are part of Small Pieces slot in conjunction
with [no.signal], Highpoint LowLife, slow sound system & D-fuse).
Resonance FM 104.4, midnight thru' to 1am GMT (fridays).
http://www.resonancefm.com
R.I.P. JOHN PEEL; thanks for opening my ears. (douglas)
[] some related artist activities
================================
si-cut.db, Iris Garrelfs - live/dj sets
================================
NOV 26
SI-CUT.DB live + stephan mathieu, mileece,
alku, top lap, farmers manual & others
Huddersfield, England http://www.ultrasound.ws
DEC 3
IRIS GARRELFS + KAFFE MATTHEWS
presenting Field 61 on Resonance 104.4 FM.
9.30-10.30 GMT http://www.resonancefm.com
JAN 14
SI-CUT.DB live + DJ xx@xxx-xxx.xxx (fr.)
Reset Electronic, Bern, Switzerland
JAN 15
SI-CUT.DB live + DJ xx@xxx-xxx.xxx
SAS, Delemon, Switzerland
================================
si-cut.db / iris garrelfs - releases
================================
JUST OUT
RT-32 Acoustic.Space.Lab: Radio Astronomy DVD/CD with tracks
constructed data from the VIRAC radio telescope by IRIS GARRELFS,
TENNIS, SI-CUT.DB, scanner, kaffe matthews, rosy parlane + more
http://acoustic.space.re-lab.net http://rixc.lv
SI-CUT.DB remix of Pan/tone's 'Sans Adore'
on Pant/tone double CD 'newfound urban calm'
on Bip Hop [bleep 26/27] http://www.bip-hop.com
CURRENT
SI-CUT.DB 'Offices at Night Vol 1 - Originals'
recordings from 1999-2001 on Fallt. mastered by Benge.
Part 1 of a 3 CD/download set to be continued...
http://www.fallt.com/offices/index.html
http://www.boomkat.com/item.cfm?merchID=14826
ON ITUNES:
SI-CUT.DB album 'find some shade'
on Highpointlowlife, CD (hpll 006) mastered by Twerk.
http://www.highpointlowlife.com/hpll006.shtml also on
http://www.boomkat.com/item.cfm?merchID=13877
si-cut.db back catalogue & rarities can now be paid via paypal
write to <xxxxxxx@xxxxx.xxxxx.xx.xx> for full list.
FUTURE
SI-CUT.DB: free downloads: on thinnerism.com
+ xmas highpointlowlife track
new album on bip-hop, mastered by Twerk.
IRIS GARRELFS: debut album due on Bip Hop
================================
TENNIS (si-cut.db + benge)
================================
OUT NOW:
RT-32 Acoustic.Space.Lab : Radio Astronomy CD/DVD
see above.
Upcoming tracks for Bip Hop generaton v.8 CD, and
and the Tribryd unMix CD project, all TBA
CURRENT: 'FURLINES' double CD including remixes
http://www.bip-hop.com/
ALSO: original 1st Tennis album Wooden Sweets
still available, info <xxxxxxx@xxxxx.xxxxx.xx.xx>
NEW SPRAWL WEBSITE UP NOW
================================
http://www.sprawl.org.uk
++ Sprawl events plus EXCLUSIVELY thru' our website only
release mail order of SPRAWL IMPRINT, SUBURBS OF HELL &
PANTUNES classic 'retronica' catalogue. Paypal available.
http://www.sprawl.org.uk/LabelFrame.html
http://www.sprawl.org.uk/VaultFrame.html
(in collaboration with dfuse)
best wishes
================================
Iris Garrelfs [BitTonic]
http://www.irisgarrelfs.com
http://www.dfuse.com/BitTonic
http://www.dfuse.com/iris
si-cut.db [d.benford]
http://home.earthlink.net/~efrans/benford
http://www.bip-hop.com/
http://www.highpointlowlife.com
http://www.fallt.com
http://www.background-records.de
SPRAWL
http://www.sprawl.org.uk
E-MAIL <xxxxxx@xxxxx.xxxxx.xx.xx>
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Date: Fri, 05 Nov 2004 11:42:29 -0500
From: david golightly <xxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] Hardware setup
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FILETIME=[8571D490:01C4C356]
I don't really see my question as off-topic - because:
I primarily use software synth (Csound et. al.), but Csound is so designed
as to enable LIVE use with MIDI controllers.
Seeing as how there's been some discussion of live performance,
I was curious as to the technical details of how it's done, using software
sythisizers and MIDI controllers to tweak parameters live (NOT the same as
hardware synth). What gear gets you there?
I'm not much of a gear head, so any advice would be appreciated.
If this topic annoys you, please ignore it.
Off-list replies are fine too: thanks to those who already took the effort
to do so.
>From: mik <xxxxx@xxx.xx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] Hardware setup
>Date: Fri, 5 Nov 2004 13:22:35 +0100
>
>a certain "Kassen" <xxxxxx@xxxxxx.xxxx.xx> wrote:
> > mik thinks;
> >
> > > there are plenty of other mailing lists and online
> > > discussions pertaining to this topic, and most of us count on this
>list to
> > > spare us from hardware issues.
> >
>
> > Though the technique may at it´s core be the same, I asure you manually
> > controling it gives it a different feel from programing it all and a
>Serge
> > recorded to tape sounds quite different from, say, Csound rendered to
>hd. I
> > strongly feel that arteficially limiting ourselves to just computer
>based
> > systems is counterproductive. Admittedly there would be better places to
> > compare the feel of different stage pianos or the batery life of guitar
> > pedals but "outlawing" all talk of hardware in general is a step too far
>for
> > my tastes.
>
>i wast citing mr. grain, replacing politics by hardware. i think neither
>should be "outlawed".
>
>m
>--
>
>
>--------___________________________
>
>
>hear me here: http://www.mprims.tk
>
>
>--
>
>
>--------___________________________
>
>
>hear me here: http://www.mprims.tk
>
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From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: Re: [microsound] Re: futurists + fascistas
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hi
( 04.11.05 10:50 -0500 ) tobias c. van Veen:
> (Was Eliot also inclined toward fascism? I won't trust my memory at the
> moment;)
not at all- he was so english [even though born in america] there is a
commemorative stone in westminster abbey in london.
of course, if you take fascism in a more generic sense [esp wrt
authority], he certainly had fascist leanings.
--
\js *;.][<%(< %;=\/$. -http://or8.net/~johns
iraq body count: 14,238 [min] 16,371 [max]
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Date: Fri, 05 Nov 2004 09:08:18 -0800
From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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At 9:49 PM -0500 11/4/04, david golightly wrote:
>I second that... I know everyone's feeling strongly about the
>election right now (myself included) but there are plenty of other
>mailing lists and online discussions pertaining to this topic, and
>most of us count on this list to spare us from politics.
This is a fairly typical and reasonably stated example of an
objection to political discussion on a special-interest discussion
list, so I'll comment on it:
One reason people with strong political feelings participate in
political discussions on nominally non-political lists is in order to
get a particular "take" on a situation or philosophical polarity. To
take the discussion from this microsound community to (for example) a
Rush Limbaugh list or a Noam Chomsky list would be to have a
different discussion. In other words, those who wish to discuss
politics here do so because they want to discuss them here, not just
because they want to discuss politics.
--
______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://RZCybernetics.com
--Boundary_(ID_T+kjf6I5RnMJFfhE6CkOEQ)--
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From: tasty radish <xxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] futurism and apocalypse
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"Futurism on the one hand and religious apocalypticism
on the other are also defining a current
aesthetic-political spectrum that merges in the mix of
the digital."
This is interesting. Could you eleborate what you
mean, with perhaps examples? I wonder if this
formulation may be conflating a *root* of current
sensibilities (particularly in digital music of late),
futurism, with a current (last 20 or so years) of
Apocalyptic imagination and imagery. Most current
music and digital art doesn't really share futurist
ideas and concerns though it may have a significant
formal set of practices that can be traced back. It
seems like current aesthetic sensibilities (in music
and otherwise) overwhelmingly harbor a strong degree
of doubt/reticence in the Great Future, rather then a
kind of manic enthusiasm for it (as something
desirable and life-giving).
- andrew
__________________________________
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Date: Fri, 05 Nov 2004 12:17:52 -0500
From: david golightly <xxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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FILETIME=[692F3C00:01C4C35B]
Fair enough. After such an election, it's no surprise that people
everywhere are somewhat distracted.
It's just been my experience that such discussions have an unfortunate
tendency to degenerate into vitriol quite quickly, and have a way of
damaging the goodwill on the list.
though I must commend fellow microsounders for keeping it above the belt
thus far- the thread on futurists/fascists is especially interesting.
I'll keep my complaints to myself, then.
>From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] Re: us citizens... (OT)
>Date: Fri, 5 Nov 2004 09:08:18 -0800
>
>At 9:49 PM -0500 11/4/04, david golightly wrote:
>>I second that... I know everyone's feeling strongly about the election
>>right now (myself included) but there are plenty of other mailing lists
>>and online discussions pertaining to this topic, and most of us count on
>>this list to spare us from politics.
>
>This is a fairly typical and reasonably stated example of an objection to
>political discussion on a special-interest discussion list, so I'll comment
>on it:
>
>One reason people with strong political feelings participate in political
>discussions on nominally non-political lists is in order to get a
>particular "take" on a situation or philosophical polarity. To take the
>discussion from this microsound community to (for example) a Rush Limbaugh
>list or a Noam Chomsky list would be to have a different discussion. In
>other words, those who wish to discuss politics here do so because they
>want to discuss them here, not just because they want to discuss politics.
>--
>
>______________________________________________________________
>Richard Zvonar, PhD
>(818) 788-2202
>http://www.zvonar.com
>http://RZCybernetics.com
_________________________________________________________________
Check out Election 2004 for up-to-date election news, plus voter tools and
more! http://special.msn.com/msn/election2004.armx
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From: A Dontigny <xx@xxxxxxxxx.xxx>
Subject: [microsound] Re: futurists + fascistas
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Please, please, I am surprised that event Tobias doesn't underline a
crucial point regarding futurist ideas about music versus fascism:
Luidgi Russolo, author of L'arte dei rumori, was opposed to fascism
and flew to Paris between 1927-32.
--
--
a_dontigny
http://www.notype.com/a_dontigny/
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Date: Fri, 05 Nov 2004 19:14:06 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Hardware setup
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david golightly wrote:
> Now, to hardware...
> I'm looking to spend less than US$1500 on good hardware for live
> electronic performance. I've been doing electronic music for years now,
> but only recording stuff to CD, then playing it back live... it's no fun
> for subjecting an audience to.
> I require:
>
> -a laptop (PC/Windows pref.)
I would go Apple, so far the best price / cpu / display / battery power
consumption relation but I didn't checked out so far realtime CSound on
it, I use CSound always 'offline'. If you insist, Asus if one you should
look, btw. they build also Powerbooks for Apple.
1024x768 feels a bit small, I would try to get more Pixels. And beware,
14inch doesn't mean necessarly that there are more pixels on it, they
might be just bigger!
If you want your laptop to be mobile, take care about the battery
consumption. Cheapo Notebooks got Desktopcpus in it like Pentium 4 which
eats your battery in less than a hour! This is not what a notebook is
for. 512mbs memory should be inside so your OS (which also could be
Linux, dont want to start a flamewar but M$ is seriously dangerous!)
doesnt start to swap on the harddisk and waste more electricity.
look here:
http://notebookforums.com
> -a MIDI controller device (M-Audio or Behringer?)
Doepfer is good too, they have even boards available which lets you
create your own rather easy.
Phillip Rees Faderbox is to avoid in my opinion.
http://www.doepfer.de
> -a soundcard (USB ok)
> -anything I'm missing?
>
> I'm fine with renting speakers/pwr amp for now, but the above is what
Doesn't comes that usually from the organisers/ venue? I remember times
where you get a reasonable amount of money as a fee for performing,
then lot of clubs cut it down to just the travelling costs, recently
even this is cut (you know, the economy, 9/11...), do we have now to
bring own speakers too :) .
sad times,
Malte
--
Malte Steiner
media art + development
-www.block4.com-
blog 4, also available as rss feed:
http://java.block4.com/blog4/
next events:
26.november workshop 3d modelling for max/msp jitter
Musikhochschule Hamburg, Germany
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Date: Fri, 05 Nov 2004 13:25:47 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Re: futurists + fascistas
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Aimé wrote:
> Please, please, I am surprised that event Tobias doesn't underline a
> crucial point regarding futurist ideas about music versus fascism:
> Luidgi Russolo, author of L'arte dei rumori, was opposed to fascism
> and flew to Paris between 1927-32.
True, although that was much later. His work on the intonarumori began in
the early 1900s, with publication of 'The Art of Noises', it seems, in 1913.
AFAIK, and from what I've read, Russolo supported Marinetti through World
War I, that is, through the formation of the Italian fascist party, the
black shirts, etc. Don't forget Italian fascism had peaked by the time WWII
came along; it was already on its last legs (the Pound cantos I am thinking
of reference the old glory of the March on Rome, which was in 1922). That's
thirty years worth of history before WWII.. One wondered if Russolo fled
because of the impending war and the failure of fascism than fleeing _from_
it. One would need to do some historical in-depth research here, reading
letters, analyses, accounts, etc. Anyone have any references?
In any case, I think it's fair to argue that (Italian) fascism and futurism,
musical or visual, are inextricably linked. This doesn't necessitate cause;
rather it draws attention to the beauty of authoritarian structure, or
rather, the way in which such structure conditioned the possibilities of
beauty at the early 20th. We all love to depict Rome, whether in its rise,
fall or decadence... doubtful, however, that any of us would have really
wanted to live through the Empire, now that we're experiencing one of our
own.
Douglas Kahn makes a good case to remember Russolo -- his 'art of noises'
was often mistakenly attributed to Marinetti -- in _Noise Water Meat_.
best,
tV
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] futurism and apocalypse
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> "Futurism on the one hand and religious apocalypticism
> on the other are also defining a current
> aesthetic-political spectrum that merges in the mix of
> the digital."
>
> This is interesting. Could you eleborate what you
> mean, with perhaps examples? I wonder if this
> formulation may be conflating a *root* of current
> sensibilities (particularly in digital music of late),
> futurism, with a current (last 20 or so years) of
> Apocalyptic imagination and imagery. Most current
> music and digital art doesn't really share futurist
> ideas and concerns though it may have a significant
> formal set of practices that can be traced back. It
> seems like current aesthetic sensibilities (in music
> and otherwise) overwhelmingly harbor a strong degree
> of doubt/reticence in the Great Future, rather then a
> kind of manic enthusiasm for it (as something
> desirable and life-giving).
> - andrew
hi List and andrew,
I'd like to explain more here but I'm rather short on time at the moment. I
dislike doing this, but the paper is available as part of the _Unsorted:
Sonic Acts X_ volume, which is available at the V2 Store, Rotterdam:
http://store.v2.nl
Search: ' Unsorted ':
http://store.v2.nl/V2_Store/browse/FMPro?-db=products.fp3&-format=detail.htm
l&-lay=cgi&-sortfield=name&-sortorder=descend&-op=cn&x=22&y=10&all=unsorted&
-recid=43999&-token=12655803&-find
[If you are unable to order a copy, let me know.]
+++
Another option is that I am looking for a place to publish the actual talk
I gave at Sonic Acts X which acts as a preface to the article. An online
journal with free access would be best -- then this could go online, and you
could all read it. Any takers?
+++
Only a short comment: I wouldn't say that the Futurists were all that
positive toward the future. There is a dark apocalypticism to Futurism, to
fascisms of all kinds as well. They embraced noise, speed, abstraction,
metal, guns, modern warfare: that is, they embraced destruction, much like
DADA, the Cabaret Voltaire, Bruitism, etc. A revolution: 360 degrees, burned
to the ground the history of classicism and truth, to invest new truths in
gasoline, aeroplanes, acceleration.
That is they uncritically embraced emergent technology. So did Proust--the
aesthetic doesn't necessitate a particular expression. And that's a trend
all too prevalent at the moment in new media circles, specifically aspects
of locative and mobile media, laptop performance, etc. Futurism, via the
manifesto, also sought to delimit various contexts for reception and the
essence of art. This bears some relation to claims made today concering the
essence and proper reception of microsound, for example.
Of course that Heidegger became critical of technology as delimiting the way
in which we 'be' in the world might be read as a critique of his fascism.
("The Question Concerning Technology" -- kind of cliché, but still
brilliant).
But the argument is far from clear-cut nor causal. It requires a kind of
analysis that links ideas, institutions, practices, much like Foucault tried
to do.. it's begun in the above paper and talk.
Enough from me! I am sure the rest of you have much to add here .. I await
with pleasure your discoveries.
best,
tobias
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++
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From: Bill Jarboe <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Re: futurists + fascistas
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on 11/4/04 9:42 PM, Phil Thomson at xxxxxxxx@xxxxxxxxx.xxx wrote:
> [snip]
>
>> Jurgen Habermas arges that this type of fascism occurs when one of the three
>> autonomous spheres of modernity (aesthetics/art, religion/ethics,
>> logic/science) sets out to determine politics solely on its own terms. This
>> is currently most obvious in Islamic fundamentalism where politics is
>> determined predominantly by religion. Christian fundamentalism posses an
>> equally dangerous outcome.
>
> True enough, and well put, but is "fascism" really the right term here?
> What does Islamic fundamentalism have to do with a bundle of sticks?
>
> P
phil darling,
the bunch of sticks symbolizes: 'united we stand , divided we fall" , from
ancient rome , probably.
you know that meteor that followers of islam make the pilgrimage in order
to kiss?
one day (many years before your time) mohammed wanted to move that rock to
a central location (this is the way the story was told to me , anyway...)
since it had significance to the various desert tribes who were quarrelling.
they got the rock under the blanket and each tribe leader grabbed a corner
and the weight was moved successfully.
maybe it was a statue and not the meteor. the story is probably in the
kurash (a word i don't find in my dictionary. i do know that i'm using
os9.2.2 and for some reason my computer kurashed 15 times writing this
message , otherwise i'd look it up using google to make sure i got the
correct spelling.) .
ta ta
your devoted pack animal
B____________^______
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From: =?iso-8859-1?Q?Bj=F6rn_Eriksson?= <xxxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] futurism and apocalypse
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One solution to this would be to use the .microsound TWiki. At moment there
seems to be some restrictions on the size of uploaded documents but this
surely must be fixed if we are to use the TWiki as a creative environment.
/Björn Eriksson
>Another option is that I am looking for a place to publish the actual talk
>I gave at Sonic Acts X which acts as a preface to the article. An online
>journal with free access would be best -- then this could go online, and
>you
>could all read it. Any takers?
>
>tobias c. van Veen -----------++++
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From: Bill Ashline <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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On Fri, 5 Nov 2004 09:08:18 -0800, Richard Zvonar <xxxxxx@xxxxxx.xxx> wrote:
> One reason people with strong political feelings participate in
> political discussions on nominally non-political lists is in order to
> get a particular "take" on a situation or philosophical polarity. To
> take the discussion from this microsound community to (for example) a
> Rush Limbaugh list or a Noam Chomsky list would be to have a
> different discussion. In other words, those who wish to discuss
> politics here do so because they want to discuss them here, not just
> because they want to discuss politics.
Exactly Richard. Politics is one of the dimensions of our reality.
As is sexuality, race, food, work, travel, and of course, music.
People don't compartmentalize these categories in their brains and
join discussion boards to engage each of them separately. They all
exist simultaneously within the person. A number of people say that
the discussion of politics leads toward greater friction on email
lists and elsewhere. the refusal to allow such discussion also leads
toward friction. It turns people into "topic-policemen." One once
again faces the admonition of the state rather than the support of a
community. The fact of the matter is that the current politics of the
US affects everybody on an almost daily basis. It affects one's
feeling of freedom in expression. It affects one's creativity. To
tell someone to take their politics off-list during seriously
troubling times is to tell them to take their life off-list. It's to
effectively be off-list all the time.
On Fri, 5 Nov 2004 05:38:23 +0000 (UTC), Phil Thomson
<xxxxxxxx@xxxxxxxxx.xxx> wrote:
> That said, someone on another list posted to the effect that the three
> most taboo topics on any mailing list are 1) politics 2) religion and 3)
> whether religion and/or politics should be discussed on a particular
> mailing list.
These are also the most invoked taboo categories for engaging in
discussion with Americans as reported in general textbooks that are
used to teach about American culture to people from other societies.
Except for the third one. Effectively, such books say that one should
never discuss politics, religion, or how much money one makes with
Americans that one does not know well. So when Americans tell you to
shut up about politics on discussion boards, what they are really
doing is enforcing their own cultural mores on everyone else,
including themselves and their compatriots, and are completely unaware
of it. And the irony of it all is that if there is one society in
serious need of a very honest, deep, sincere, and probing discussion
of politics right now, it's the people of the US. America is a
society (and I include myself here) which is gripped with a huge
political psychosis right now that it refuses to address in a
responsible and proactive way, and the demand for silence about it on
an email list is just one more symptom of the bigger problem.
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From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Re: us citizens... (OT)
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>America is a society (and I include myself here) which is gripped with a huge
>political psychosis right now that it refuses to address in a
>responsible and proactive way, and the demand for silence about it on
>an email list is just one more symptom of the bigger problem.
-In light of this disscussion, I found this very interesting to read:
http://www.guardian.co.uk/g2/story/0,3604,1343956,00.html
I believe that this does not mean it's specific American.
It's it probably as old as as a long 'civilization' exists (if it does
at all - reminded of Gandhi's reply to the question: "what about western
(english) civilization?" - that would be an interesting idea...).
AvS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................
` |Schreck Ensemble . . . . . . . . . . . . . . . . . . . . +
` |# -laboratory for live electro-acoustic music- # |
| http://www.schreck.nl/ |
| http://www.xs4all.nl/~schreck/ |
` *===========================================================++
` |Compositions http://www.xs4all.nl/~schreck/html/compo.html |
` |Samples http://www.xs4all.nl/~schreck/html/samp.html |
` |Patches http://www.xs4all.nl/~schreck/html/pat.html |
` |Videos http://www.xs4all.nl/~schreck/html/video.html |
` |Scores http://www.xs4all.nl/~schreck/html/scores.html |
*===========================================================++
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................
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Subject: [microsound] Sorry everybody
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-Scott Allison
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From: scott allison <xxxxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] Sorry everybody
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FILETIME=[755FB210:01C4C3B1]
odd, not sure whats up... the link went to a site where people are posting
pictures of themselves with hand written apologies to the world, really cool
grassroots stuff, and know it seems the site is gone???
>http://www.sorryeverybody.com/
>
>-Scott Allison
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Subject: [microsound] gallery1f call for works
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gallery1f (structuredsound.net/gallery1f/) is
transitioning from a brick&mortar space to an online
space.
our inaugural event as an online art space will be a
juried show of works in many media which deal with the
transition of offline to online, analog to digital,
material to data. we hope to support and host works
which address issues of sampling, sublimation,
encoding and decoding.
this is an open call to submit works and/or proposals
in
sound/writing/video/flash/javascript/photography/etc.
deadline for proposal submission is friday december
17th. the show will open in late december/early
january. if your proposal is dependent on exotic
technology, please submit early and allow us to
ascertain its manageability on our server.
please submit proposals or links to completed work to
xxxxxxxxx@xxxxx.xxx
gallery1f is co-curated by ezara hoffman and jake
elliott.
thanks for your time!
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Subject: Re: [microsound] Re: us citizens... (OT)
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On Nov 4, 2004, at 12:23 PM, WATFIV wrote:
> Correction: only 20% of the U.S. voted for Bush, the other 20-% for
> Kerry. The rest of the us couldn't be bothered. Education and civic
> responsibility are at the heart of the U.S.'s problems, IMHO.
If choosing between Bush and Bush-lite is civic responsibility, then I
want no part of it.
I did vote... not for either of them though.
- John
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On Nov 4, 2004, at 9:26 PM, xxxxxxxxx@xxxxxxx.xxx wrote:
> i think (maybe i am alone) people's personal opinions regarding only
> democracy, political parties, voters, beliefs and morals or LACK of
> any, do not belong on this list.
I personally think such discussion is just fine. It's all titled and
tagged with OT, so if you don't want to read it, simply toss it and be
done. Microsound is as much a community as anything else, and members
of a community tend to like to discuss things outside the topic
sometimes... or should I say that I hope they do at least!
- John
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Subject: Re: [microsound] R:[microsound] Re: us citizens...
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On Nov 5, 2004, at 5:39 AM, Marco Messina wrote:
> I don’ t see any difference from decapitating a reporter or bombing and
> killing thousands civilians
>
> Marco messina
I do. In one case, a group is resisting an illegal occupation of their
country against a much superior force by any means necessary.
In the other case, you have needless imperialist aggression against a
once-sovereign nation.
- John
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On Nov 5, 2004, at 12:08 PM, Richard Zvonar wrote:
> In other words, those who wish to discuss politics here do so because
> they want to discuss them here, not just because they want to discuss
> politics.
That's exactly it. Thank you for pointing that out.
- John
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FILETIME=[CBC8D110:01C4C3E1]
Marco Messina wrote:
>>I don’ t see any difference from decapitating a reporter or bombing and
>>killing thousands civilians
>>
>>Marco messina
Then somebody wrote :
>I do. In one case, a group is resisting an illegal occupation of their
>country against a much superior force by any means necessary.
>In the other case, you have needless imperialist aggression against a
>once-sovereign nation.
>
>- John
That's a beautiful mathematic explanation !
One reporter = 1000 civilians
9/11 : 4000 civilans dead in 2 towers
4000 x 1000 = 4 000 000 civilans to kill.
After, an eye for an eye, ...
1000 eyes for one eye.
No other solution ?!
America, freedom for everyone !!! ;-)
Seb
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On Nov 6, 2004, at 4:19 AM, Sébastien Hayez wrote:
> That's a beautiful mathematic explanation !
> One reporter = 1000 civilians
>
> 9/11 : 4000 civilans dead in 2 towers
>
> 4000 x 1000 = 4 000 000 civilans to kill.
If the "insurgents" are using the same formula, that's 100,000+ Iraqi
civilians dead by the latest estimates, which means a comfortable
100,000,000 American civilians to kill at least. That's not taking into
account the sanctions of course... if you do that, we've killed more
Iraqis than Saddam himself. With the help of a few others nations of
course. Thanks Mr. Blair.
- John
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From: bill thompson <xxxxxxxxx@xxxxx.xxx>
Subject: [microsound] aberdeen scotland, experimental music
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woooo...you ever walk out of a room for coffee and
come back and the atmosphere has completely changed!
looks like the election has hit this list too (seems
to be everywhere at the moment)...
anyway, i've lurked here for a while but have been
away from the list during the past few months during
my move...
but still, i wanted to let anyone near/in scotland
know that i'm hosting an experimental music night once
a month in aberdeen scotland. seems that i've arrived
here just at the beginning of some interesting
developments. as with fringe music it's often hard to
find where like-minded folks are...
so if that's you and you'd like to hear or participate
please give me an email at
xxxxxxxxxxxx@xxxxxxxxxxxx.xxx ...there's some details
on my site at :
http://billthompson.org/experimentalmusicshowcase.htm
also, if there's any field recordists on the list that
haven't got the call for works on phonography, we're
hosting a show for that in january too.
these aren't paying gigs i'm afraid, just for the
sheer joy of playing to a small group of people who
need to hear what you're doing, but maybe that will
change in the future.
cheers,
b.
=====
www.billthompson.org
.........................................................................
"The more you think about things the weirder they seem." -Calvin
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Subject: [microsound] warning:political
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>>>These are also the most invoked taboo categories
for engaging in
discussion with Americans as reported in general
textbooks that are
used to teach about American culture to people from
other societies.
Except for the third one>>>
way to generalize the entire american people! (always
trust those textbooks, :))
bill thompson
amercan expat
democrat
straight, gay friendly
buhddist (non-sitting)
20k a year
=====
www.billthompson.org
.........................................................................
"The more you think about things the weirder they seem." -Calvin
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Date: Sat, 06 Nov 2004 23:54:18 +1100
From: Ian Andrews <x.xxxxxxx@xxxxxxxxxxx.xxx.xx>
Subject: Re: [microsound] Re: futurists + fascistas
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thanks for your comments henk. I think you have really defined fascism
in a way far more incisive than my feeble attempts. You have offered a
concrete example of fascism in action. bravo and touche!
On Friday, Nov 5, 2004, at 21:16 Australia/Sydney, henk b wrote:
> "Microsound is an unmediated mailing list dedicated to informed
> comment and
> discussion of experimental digital and post-digital music."
>
> if i want to join a newsgroup or a forum about politics i would, but
> not
> here on this one please
>
> henk
>
>> Van: Ian Andrews <x.xxxxxxx@xxxxxxxxxxx.xxx.xx>
>> Beantwoord: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Datum: Fri, 05 Nov 2004 15:03:48 +1100
>> Aan: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Onderwerp: Re: [microsound] Re: futurists + fascistas
>>
>> tobias c. van Veenwrote:
>>
>>>
>>> hola list et al,
>>>
>>>
>>> Actually, the futurists _were_ fascists; that's not contention but
>>> fact.
>>> Marinetti was an avid supporter of Mussolini, in word and deed, and
>>> the
>>> futurists embraced World War I.
>>
>> absolutely!
>>
>>> However, I think it's fair to qualify Mussolini's fascism from
>>> Hitler's Nazi
>>> party and its fascism. The level of street violence practiced by
>>> _any_
>>> political party at the time is unbelievable, whether fascist,
>>> imperialist,
>>> communist, anarchist, etc. There is a context to be carefully
>>> observed here
>>> because it is twisted with our own.
>>
>> I would be very careful in attempting to put a positive gloss on
>> Mussolini's
>> Fascism. The politics of Mussolini's Fascist party privileged the
>> rights of
>> the strong over the weak in a similar way to the Nazis. Hence they
>> victimised the sick and disabled, Gypsies, etc. They were just as
>> inhuman in
>> this regard.
>>>
>>> Also, thinking here of another post, futurism is not fascism nor is
>>> it
>>> conservatism nor neoconservatism.
>>
>> Some have called it Fascism (I'm thinking of Walter Benjamin's famous
>> remark) and I'm not sure that they are wrong. Futurism was guilty of
>> aestheticising politics (this was Benjamin's contention). This
>> aestheticisation of politics proceeded by the systematic application
>> of
>> aesthetic judgements (judgements of taste) directly to political
>> ideology.
>> Thus they glorified war as the supreme aesthetic/political
>> experience. The
>> Nazis similarly aestheticised politics and this resulted in their
>> being able
>> to presecute anyone not conforming to the aesthetic ideals of "racial
>> purity."
>> Jurgen Habermas arges that this type of fascism occurs when one of
>> the three
>> autonomous spheres of modernity (aesthetics/art, religion/ethics,
>> logic/science) sets out to determine politics solely on its own
>> terms. This
>> is currently most obvious in Islamic fundamentalism where politics is
>> determined prdominantly by religion. Christian fundamentalism posses
>> an
>> equally dangerous outcome.
>>
>> However, although the Futurists were Fascists, an although Futurism
>> was
>> (arguably) a fascist ideology, this should not prevent us from
>> examining
>> their ideas and gaining something from this process. Nor should we
>> abandon
>> the works of Heidegger and De Man, who also fell under the spell of
>> Fascism.
>>
>> ian
>>>
>>
>>
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>>
>
>
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From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [OT] Re: us citizens...
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"Captain Ahab," said Starbuck, who, with Stubb and Flask, had thus far
been eyeing his superior with increasing surprise, but at last seemed
struck with a thought which somewhat explained all the wonder. "Captain
Ahab, I have heard of Moby Dick- but it was not Moby Dick that took off
thy leg?"
"Who told thee that?" cried Ahab; then pausing, "Aye Starbuck; aye, my
hearties all round; it was Moby Dick that dismasted me; Moby Dick that
brought me to this dead stump I stand on now. Aye, aye," he shouted
with a terrific, loud, animal sob, like that of a heart-stricken moose;
"Aye, aye! it was that accursed white whale that razeed me; made a poor
pegging lubber of me for ever and a day!" Then tossing both arms, with
measureless imprecations he shouted out: "Aye, aye! and I'll chase him
round Good Hope, and round the Horn, and round the Norway Maelstrom, and
round perdition's flames before I give him up. And this is what ye have
shipped for, men! to chase that white whale on both sides of land, and
over all sides of the earth, till he spouts black blood and rolls fin
out. What say ye brave men, will ye splice hands on it, now? I think ye
do look brave."
"Aye, aye!" shouted the harpooneers and seamen, running closer to the
excited old man: "A sharp eye for the White Whale; a sharp lance for
Moby Dick!"
"God bless ye," he seemd to half sob and half shout. "God bless ye ,
men."
Herman Melville. _Moby Dick_, 1851
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Date: Sat, 06 Nov 2004 08:55:58 -0500
From: Matthew Mitchell <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT)
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Tell it, brother... :)
-matt
If choosing between Bush and Bush-lite is civic responsibility, then I
want no part of it.
I did vote... not for either of them though.
- John
www.mattmitchell.us
Download and listen to free music, sign the guestbook, read the blog!
--Boundary_(ID_SmhWHHHHB2turOoOcQMybw)--
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Subject: Re: [microsound] Re: us citizens... (OT)
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I basically agree. For me (as others), its the vitriol, finely ground
or chunk flung, that inevitably accompanies 90% of such discussions, often
after the first or second salvo. So many intelligent people often have so
many un-intelligent discussions, consumed with their own agendas rather than
reaching out and communicating. Its like watching people try to beat each
other up and basically only get exhausted in the process. Although I
wouldn't characterize the recent discussion here quite like that as of now,
thankfully.
Really, in this country connections need to be formed between the
coast-dwellers and the heartland folk. Real dialogue in this area may be
our only hope.
-matt
NR: Russell Edson, The Tormented Mirror.
Hilarious!
I personally think such discussion is just fine. It's all titled and
tagged with OT, so if you don't want to read it, simply toss it and be
done. Microsound is as much a community as anything else, and members
of a community tend to like to discuss things outside the topic
sometimes... or should I say that I hope they do at least!
- John
www.mattmitchell.us
Download and listen to free music, sign the guestbook, read the blog!
--Boundary_(ID_mpERoNp3P8ubG9lqZd4enQ)--
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From: Marta Klonowska <xxxxxx@xx.xx>
Subject: [microsound] # Gameboyzz Orchestra Project # Paris # Amsterdam #
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Dear Friends,
we play on 20 November 2004; 17hrs
with Teamtendo [Fr], Bubblyfish [USA], Glomag [USA]
at Landowski Espace
Salle des Conferences
28, avenue André-Morizet
92104 Boulogne-Billancourt
Paris, France
in cooperation with Institut Polonais in Paris
and
on 21 November 2004
at STEIM
Achtergracht 19
1017 WL
Amsterdam, Holland
hope to see you there!
## Gameboyzz in Wired Magazine - please visit:
http://www.wired.com/news/culture/0,1284,65520,00.html ##
For more information please visit: www.gameboyzz.com
Best regards,
Marta Klonowska
IMPREZARIAT.PL
www.imprezariat.gameboyzz.com
tel. 0048.601.406.977
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Dear Friends,
we play on 20 November 2004; 17hrs
with Teamtendo [Fr], Bubblyfish [USA], Glomag [USA]
at Landowski Espace
Salle des Conferences
28, avenue André-Morizet
92104 Boulogne-Billancourt
Paris, France
in cooperation with Institut Polonais in Paris
and
on 21 November 2004
at STEIM
Achtergracht 19
1017 WL
Amsterdam, Holland
hope to see you there!
## Gameboyzz in Wired Magazine - please visit:
http://www.wired.com/news/culture/0,1284,65520,00.html ##
For more information please visit: www.gameboyzz.com
Best regards,
Marta Klonowska
IMPREZARIAT.PL
www.imprezariat.gameboyzz.com
tel. 0048.601.406.977
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Date: Sat, 06 Nov 2004 10:07:59 -0500
From: Ben Neill <xxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Re: us citizens... (OT
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I have been following this thread and I totally understand the point of
view that this list is not the place for political discussions.
However, in this case, at least for anyone living in the US, the impact
is so great that I think it's necessary for us all to think and talk
about how our art will and should be affected by these developments.
Personally I think the left has spent too much time pandering to the
right wing's anti-intellectual, anti-science, and religious
fundamentalist factions. While we found out this week that those
groups are more powerful than ever imagined (1 out of 3 Americans
describes themselves as "Fundamentalist Christian"!), it's still
crucial for the left to maintain some kind of clear definition of
itself in order to keep our democracy intact. That's important for all
of us, especially artists! I think the right wing fundamentalist
ideology is in direct opposition to the kind of exploratory thinking
and spirit of experimentation which characterizes this list.
So what can artists do other than make overtly political works? (which
I have done a lot of lately) Like the political left, I think we need
to focus on the differences between our work and the kind of retro
ideas espoused by the political and musical "right wing". Basically
make what we do so seductive and so subversive that it's irresistible.
As Beuys said, art has to act as a weathervane for society, to direct
culture forward. Otherwise we just end up giving into some kind of
Medieval sensibility that believes in solving problems through religion
and intuition rather than rational thinking. That doesn't work for me.
Ben Neill
www.benneill.com
> "i think (maybe i am alone) people's personal opinions regarding
> *_only_* democracy, political parties, voters, beliefs and morals or
> LACK of any, do not belong on this list. i am certain if you must vent
> to another member, it can be done offlist." posted earlier by
> datetmyer-
>
> exactly my sentiments as well. that is why i stated opinions regarding
> ONLY etc etc. i think somebody earlier posted that what if 'politics is
> their motivation for inspiration at this time' (or something to that
> effect). this i do not mind and find welcoming, for ANYTHING that
> motivates ones creativeness, is open to discussion for me. or in my
> case, reading from the shadows : P
>
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Date: Sat, 06 Nov 2004 14:30:37 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] Sorry everybody
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if people voted for who they thought best represented their ideologies, then
there's no need to apologize, i think. if anything it's bush that should be
doing the apologizing, not the sane, rational and progressive individuals who
tried to vote the dark lord of the sith out.
my 2 cents...
g.
scott allison wrote:
> odd, not sure whats up... the link went to a site where people are posting
> pictures of themselves with hand written apologies to the world, really cool
> grassroots stuff, and know it seems the site is gone???
>
> >http://www.sorryeverybody.com/
> >
> >-Scott Allison
>
> _________________________________________________________________
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From: Maurizio Giri <xxxxxxxxxxx@xxxxx.xx>
Subject: Re: [microsound] Re: us citizens... (OT)
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http://attenuation.net/files/iq.htm
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From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Re: us citizens... (OT)
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>http://attenuation.net/files/iq.htm
-The last sentence on that page:
'It was not posted as an elitest diatribe,
just an interesting correlation.'
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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Date: Sat, 06 Nov 2004 16:33:58 -0800 (PST)
From: Eric b <xxxx_xxxxxxxx@xxxxx.xxx>
Subject: [microsound] Net Labels ( Ambient+Glitch )
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Greetings!
Trying to compile a list of Net Labels with a focus on
the ambient electronic. Any links/help would be
GREATLY appreciated.
Thanks!
-eric
____________________________
+ www.ericbollman.com
xxxx@xxxxxxxxxxx.xxx
____________________________
__________________________________
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Subject: Re: [microsound] Net Labels ( Ambient+Glitch )
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www.kikapu.com
www.hippocamp.net
www.audiobulb.com
----- Original Message -----
From: "Eric b" <xxxx_xxxxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, November 07, 2004 12:33 AM
Subject: [microsound] Net Labels ( Ambient+Glitch )
> Greetings!
>
> Trying to compile a list of Net Labels with a focus on
> the ambient electronic. Any links/help would be
> GREATLY appreciated.
>
> Thanks!
> -eric
>
> ____________________________
>
> + www.ericbollman.com
> xxxx@xxxxxxxxxxx.xxx
>
> ____________________________
>
>
>
> __________________________________
> Do you Yahoo!?
> Check out the new Yahoo! Front Page.
> www.yahoo.com
>
>
>
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>
>
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From: Benjamin Thorp <xxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Re: microsound Digest 3 Nov 2004 22:56:23 -0000 Issue 1285
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where are the events in New york nov. 6th?
benjamin
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Date: Sat, 06 Nov 2004 20:43:55 -0600
From: erik schoster <xxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Net Labels ( Ambient+Glitch )
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fukk god is also superb.
http://www.fukkgod.org
erik
On Sat, 6 Nov 2004 16:33:58 -0800 (PST), Eric b <xxxx_xxxxxxxx@xxxxx.xxx> wrote:
> Greetings!
>
> Trying to compile a list of Net Labels with a focus on
> the ambient electronic. Any links/help would be
> GREATLY appreciated.
>
> Thanks!
> -eric
>
> ____________________________
>
> + www.ericbollman.com
> xxxx@xxxxxxxxxxx.xxx
>
> ____________________________
>
> __________________________________
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>
--
he can jog: www.hecanjog.com
please download me: pdm.hecanjog.com
another green world: agw.dl.am
he can jog full length out soon on fork series records:
http://www.forkseries.com
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Date: Sat, 06 Nov 2004 20:15:50 -0800 (PST)
From: Josh Ronsen <xxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Re: tolerance: aesthetics: microsound
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>Ian Andrews mentioned that John Cage once described
minimalist music as
>fascist.
In 1982, Cage described the music of Glen Branca that
he heard in performance as resembling fascism. Cage
was describing one particular work, not all minimalist
music. I assume Cage was referring to the drum beat
and the guitars playing the same chord, if that Branca
piece was anything like his early Symphonies.
For a few more details, see
http://media.hyperreal.org/zines/est/intervs/branca.html
-Josh Ronsen
in Austin, Texas
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Date: Sun, 07 Nov 2004 02:20:10 -0800
From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] Net Labels ( Ambient+Glitch )
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www.audiobulb.com is excellent.
k:p
On Nov 6, 2004, at 4:33 PM, Eric b wrote:
> Greetings!
>
> Trying to compile a list of Net Labels with a focus on
> the ambient electronic. Any links/help would be
> GREATLY appreciated.
>
> Thanks!
> -eric
>
> ____________________________
>
> + www.ericbollman.com
> xxxx@xxxxxxxxxxx.xxx
>
> ____________________________
>
>
>
> __________________________________
> Do you Yahoo!?
> Check out the new Yahoo! Front Page.
> www.yahoo.com
>
>
>
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Date: Sun, 07 Nov 2004 12:37:13 +0100
From: nicola catalano <xxxxxx@xxxxxx.xx>
Subject: [microsound] ikeda c4i
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just saw the new video/performance work "c4i" by ryoji ikeda at rec
festival in reggio emilia (italy) and i highly recommend it: digital
humanism at its nth power... it'd be showed in nyc any day now, catch it
while you can...
cheers.
..nic.
+ + + + + + + + + + + + + +
{ { d i s c o g r a p h y } }
z_e_l_l_e | nth | line (http://www.12k.com) aug 2001
z_e_l_l_e | rjctd::nw | cubicfabric
(http://www.cubicmusic.com/fabric/index.html) nov 2003
"zen enlightenment lifts life energy" on tu M'p3 (http://www.tu-m.com) jan 2002
"shayozoku" on tu M'p3 (http://www.tu-m.com) sept 2002
"tief herz" on lib. (http://www.cubicmusic.com/fabric/index.html) june 2003
"rjctd 11" on netmage 04 @ the wire 239 (http://www.netmage.it) or
(http://www.thewire.co.uk) jan 2004
UPCOMING
"kitanai" on star6_789' v.2 (http://www.star6789.tk/) TBA
SOUND EXHIBITION
"rjctd 9" (from rjctd::nw) @ Ecoute | Centre Pompidou | Paris, France | 22
Sept, 2004 - 17 Jan, 2005
| | | | | | | | | | | | | | | | | | | |
REVIEWS http://www.12k.com/line/linepress.htm
| | | | | | | | | | | | | | | | | | | |
"battiti"
daily radio programme (12:00am) on rai-radio3 ::
third channel of italian national broadcasting company
http://www.radio.rai.it/radio3/battiti/index.cfm
| | | | | | | | | | | | | | | | | | | |
columnist on:
"blow up" (monthly) http://www.blowupmagazine.com
"rumore" (monthly) http://www.rumoremag.com
+ + + + + + + + + + + + + +
NICOLA CATALANO
c/o MAURIZIO MARTUSCIELLO
Via Sant'Arcangelo di Romagna, 45
00127 Roma
Italia
ph. ++39 06 52370975
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Date: Sun, 07 Nov 2004 13:45:08 +0100
From: Jean-Louis Huhta <xxxx-xxxxx@xxxxxxxx.xxx>
Subject: [microsound] test
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Just a test
It seems my mails are not coming through
best
j-l
http://www.jeanlouis.biz/
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From: Bas van Heur <xxxxxxxxxx@xxx.xxx>
Subject: [microsound] [site] Issue #1 of renewed cut.up.magazine online
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Cut.up.magazine renews itself
After a long period of relative quiet cut.up.media is back with a brand
new site and the first edition of cut.up.magazine which will appear on a
regular basis. You can consume issue #1 - in Dutch and English - on
www.cut-up.com <http://www.cut-up.com/>.
Despite these changes, the goal of cut.up.media remains the same. In
sixteen words: Offering insight into the diverse underground cultures by
making a digital blueprint of our contemporary age. Not that we plan to
restrict ourselves to the digital in the near future.
In issue #1 Arie Altena discusses the book Omega Minor by the Flemish
author Paul Verhaegen, journalist Malina Guha of the Financial Times
tries to explain what it means to live in Europe as an American, Marloes
Wardenier interviews the young creative people of De Nieuwe Garde,
editor Wilfried Hou Je Bek explains what this cut-up actually is, and
Tonie van Ringelestijn introduces one of the most exciting bands of the
moment: Oorbeek from Amsterdam. Also, take a look at the critical
reviews and check our archive.
Together with the Flemish House of Culture De Brakke Grond in Amsterdam
we are giving away 5x2 admission tickets per evening to the theatrical
productions Galapagos and Life on the Edge. Read here how to get hold of
these: http://www.cut-up.com/thingz/thingz.php?shortID=29
Finished reading? Start waiting for issue #2 with once again five
articles and a range of reviews.
More information: Theo Ploeg, xxxx@xxx-xx.xxx <mailto:xxxx@xxx-xx.xxx>
cut.up.media @ www.cut-up.com <http://www.cut-up.com/>
[the art of living in a medialised landscape]
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From: Manrico Montero <xxxxxxxxxxxxxx@xxxxx.xxx.xx>
Subject: Re: [microsound] Net Labels ( Ambient+Glitch )
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hi there!
Greetings from Mexico City,
check Filtro, a Net Label from Mexico City, there are four releases right now,
http://www.filtro.com.mx
:)
Manrico Montero
Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx> wrote:
www.audiobulb.com is excellent.
k:p
On Nov 6, 2004, at 4:33 PM, Eric b wrote:
> Greetings!
>
> Trying to compile a list of Net Labels with a focus on
> the ambient electronic. Any links/help would be
> GREATLY appreciated.
>
> Thanks!
> -eric
>
> ____________________________
>
> + www.ericbollman.com
> xxxx@xxxxxxxxxxx.xxx
>
> ____________________________
>
>
>
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From ???@??? Sun Nov 7 17:37:52 2004
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Date: Sun, 07 Nov 2004 18:38:37 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Net Labels ( Ambient+Glitch )
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did someone already mentioned Stasisfield?
http://www.stasisfield.com/
anotherone to check out, although a wide range and piecewise releases:
http://www.plakatif.net/
Cheers,
Malte
--
Malte Steiner
media art + development
-www.block4.com-
blog 4, also available as rss feed:
http://java.block4.com/blog4/
next events:
26.november workshop 3d modelling for max/msp jitter
Musikhochschule Hamburg, Germany
26.november concert Elektronengehirn
hoerbar Hamburg, Germany
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From ???@??? Sun Nov 7 17:49:33 2004
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Date: Sun, 07 Nov 2004 17:49:26 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [ot] Google censors Abu Gharib images
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Speaking of fascism:
http://yro.slashdot.org/yro/04/11/07/1442217.shtml?tid=153&tid=226&tid=217
Absolutely unbelievable, and yet absolutely believable.
P
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
{ Phil Thomson
{ home: http://www.sfu.ca/~pthomson
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SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.
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From ???@??? Sun Nov 7 18:00:14 2004
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Date: Sun, 07 Nov 2004 12:00:00 -0600
From: erik schoster <xxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Net Labels ( Ambient+Glitch )
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some more, maybe obvious, but just in case:
http://www.komplott.com/
http://www.12k.com/term/
http://www.antiopic.com/ (check out the allegorical power series)
and the totally AWESOME http://www.con-v.org/
if you're interested, i've got an mp3 blog, updated infrequently with
reviews of some favorites:
http://pdm.hecanjog.com/
best,
erik
On Sat, 6 Nov 2004 16:33:58 -0800 (PST), Eric b <xxxx_xxxxxxxx@xxxxx.xxx> wrote:
> Greetings!
>
> Trying to compile a list of Net Labels with a focus on
> the ambient electronic. Any links/help would be
> GREATLY appreciated.
>
> Thanks!
> -eric
>
> ____________________________
>
> + www.ericbollman.com
> xxxx@xxxxxxxxxxx.xxx
>
> ____________________________
>
> __________________________________
> Do you Yahoo!?
> Check out the new Yahoo! Front Page.
> www.yahoo.com
>
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--
he can jog: www.hecanjog.com
please download me: pdm.hecanjog.com
another green world: agw.dl.am
he can jog full length out soon on fork series records:
http://www.forkseries.com
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>Speaking of fascism:
>http://yro.slashdot.org/yro/04/11/07/1442217.shtml?tid=153&tid=226&tid=217
-Without trying to provoke an all out flame war:
have you taken note of the complete discussion you are
pointing to?
Like:
'Complete FUD, really. (Score:5, Informative)
by krunk7 (748055) on Sunday November 07, @11:41AM (#10746767)
econd hit on google web search for abu ghraib:
Abu Ghraib Photo's [antiwar.com] http://www.antiwar.com/news/?articleid=2444
Now, it is odd that their image gallery isn't equally pertinant, but I
think it's more of a reflection on google having a poor image search
engine or
prehaps poorly maintained index....not some grand censorship conspiracy
theory.'
Seems to me 'premature commenting'...
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: Steffan De Turck <xxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Net Labels ( Ambient+Glitch )
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and also check out:
http://www.archive.org/audio/netlabels.php
for an overview of selected netlabels.
Regards,
Steffan
--- Eric b <xxxx_xxxxxxxx@xxxxx.xxx> wrote:
> Greetings!
>
> Trying to compile a list of Net Labels with a focus
> on
> the ambient electronic. Any links/help would be
> GREATLY appreciated.
>
> Thanks!
> -eric
>
> ____________________________
>
> + www.ericbollman.com
> xxxx@xxxxxxxxxxx.xxx
>
> ____________________________
>
>
>
> __________________________________
> Do you Yahoo!?
> Check out the new Yahoo! Front Page.
> www.yahoo.com
>
>
>
>
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visit the staplerfahrer at:
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From: Manrico Montero <xxxxxxxxxxxxxx@xxxxx.xxx.xx>
Subject: [microsound] http://www.filtro.com.mx
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Check http://www.filtro.com.mx
is a Net Label from Mexico City,
there are four releases for free download,
:)
Manrico Montero
---------------------------------
Do You Yahoo!?
Yahoo! Net: La mejor conexión a internet y 25MB extra a tu correo por $100 al mes.
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From: gord the rogue <xxxx.xxx.xxxxx@xxxxx.xxx>
Subject: Re: [microsound] ikeda c4i
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First time i reply so apologise me if i'll make mistake, well btw i
lived the new video/performance work "c4i" by Ryoji Ikeda. I was
shocked, i felt like watching an horror movie... but what i was
watching were the opposite. Harmonic strings always make me shudders
:-)
Magister Ikeda told me that all he played was little pieces of his
project... he spoke about a dvd release within some years... cross
your fingers we are in great need.
Gord The Rogue
On Sun, 7 Nov 2004 12:37:13 +0100, nicola catalano <xxxxxx@xxxxxx.xx> wrote:
> just saw the new video/performance work "c4i" by ryoji ikeda at rec
> festival in reggio emilia (italy) and i highly recommend it: digital
> humanism at its nth power... it'd be showed in nyc any day now, catch it
> while you can...
> cheers.
> .nic.
>
> + + + + + + + + + + + + + +
>
> { { d i s c o g r a p h y } }
>
> z_e_l_l_e | nth | line (http://www.12k.com) aug 2001
> z_e_l_l_e | rjctd::nw | cubicfabric
> (http://www.cubicmusic.com/fabric/index.html) nov 2003
> "zen enlightenment lifts life energy" on tu M'p3 (http://www.tu-m.com) jan 2002
> "shayozoku" on tu M'p3 (http://www.tu-m.com) sept 2002
> "tief herz" on lib. (http://www.cubicmusic.com/fabric/index.html) june 2003
> "rjctd 11" on netmage 04 @ the wire 239 (http://www.netmage.it) or
> (http://www.thewire.co.uk) jan 2004
>
> UPCOMING
>
> "kitanai" on star6_789' v.2 (http://www.star6789.tk/) TBA
>
> SOUND EXHIBITION
>
> "rjctd 9" (from rjctd::nw) @ Ecoute | Centre Pompidou | Paris, France | 22
> Sept, 2004 - 17 Jan, 2005
>
> | | | | | | | | | | | | | | | | | | | |
>
> REVIEWS http://www.12k.com/line/linepress.htm
>
> | | | | | | | | | | | | | | | | | | | |
>
> "battiti"
> daily radio programme (12:00am) on rai-radio3 ::
> third channel of italian national broadcasting company
> http://www.radio.rai.it/radio3/battiti/index.cfm
>
> | | | | | | | | | | | | | | | | | | | |
>
> columnist on:
> "blow up" (monthly) http://www.blowupmagazine.com
> "rumore" (monthly) http://www.rumoremag.com
>
> + + + + + + + + + + + + + +
>
> NICOLA CATALANO
> c/o MAURIZIO MARTUSCIELLO
> Via Sant'Arcangelo di Romagna, 45
> 00127 Roma
> Italia
> ph. ++39 06 52370975
>
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>
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From ???@??? Mon Nov 8 01:29:43 2004
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Date: Mon, 08 Nov 2004 02:30:29 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: [microsound] faderbox
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Hello list,
just discoverd this
http://www.faderfox.de
seems cheap but dont know the quality
Cheers,
Malte
--
Malte Steiner
media art + development
-www.block4.com-
blog 4, also available as rss feed:
http://java.block4.com/blog4/
next events:
26.november workshop 3d modelling for max/msp jitter
Musikhochschule Hamburg, Germany
26.november concert Elektronengehirn
hoerbar Hamburg, Germany
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From ???@??? Mon Nov 8 03:02:33 2004
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Date: Sun, 07 Nov 2004 19:02:25 -0800
From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] faderbox
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There's a review at http://www.em411.com/show/hardware/194
There's also a lot of info at the ableton forums, just search for
faderfox.
k:p
On Nov 7, 2004, at 5:30 PM, Malte Steiner wrote:
> Hello list,
>
> just discoverd this
>
> http://www.faderfox.de
>
> seems cheap but dont know the quality
>
> Cheers,
>
> Malte
>
> --
> Malte Steiner
> media art + development
> -www.block4.com-
>
> blog 4, also available as rss feed:
> http://java.block4.com/blog4/
> next events:
> 26.november workshop 3d modelling for max/msp jitter
> Musikhochschule Hamburg, Germany
> 26.november concert Elektronengehirn
> hoerbar Hamburg, Germany
>
> ---------------------------------------------------------------------
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On Sat, 6 Nov 2004 04:15:49 -0800 (PST), bill thompson
<xxxxxxxxx@xxxxx.xxx> wrote:
>
>
> way to generalize the entire american people! (always
> trust those textbooks, :))
I'm glad you feel this characterization doesn't apply to you.
Generalizing based on significant research is something that humans
do, regardless of the anomalies who don't fit the description. It's
called making sense of reality.
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Date: Mon, 08 Nov 2004 12:08:34 +0100
From: Marta Klonowska <xxxxxx@xx.xx>
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: : Ping Melody : :
: : http://ping.wrocenter.pl : :
: : : : : : : : : : : : : : : : : : : : : : : : : : : : : :
# Saturday, 20 November 2004; 8:30 pm
Pawel Janicki's concert on
VIPER BASEL | 2004
INTERNATIONAL FESTIVAL
FOR FILM VIDEO AND NEW MEDIA
Gare du Nord
Bahnhof für neue Musik
Basel
Switzerland
: : : : : : : : : : : : : : : : : : : : : : : : : : : : : :
Ping Melody is a music-net-performance. Temporary and unique state of
all actions of Internet
users has an influence on form of music composition. Musician
(instrumentalist or singer) is playing
on acoustic instrument/singing and sounds coming from instrument/voice
are shared in packets of
data information (granulated), then transmitted to selected Internet
location (as "ping" unix command).
The order of packet’s return, packet’s delays, transmission errors
alerts are incorporated, and
the information coming from these actions is controlling in the real
time the transformation of
played sound. Performance will be accompanying by visualisation, showing
tracks of data and
information of errors, etc. Dedicated software is a kind of sampler
(granular synthesizer) and
pitch tracker, which is using Internet to transform and create sound
construction. Musician is
improvising, treating software, which is transforming sound coming from
his instrument,
as a partner – a kind of second musician.
: : : : : : : : : : : : : : : : : : : : : : : : : : : : : :
Links:
Ping Melody: http://wrocenter.pl/projects/ping/index.html
VIPER BASEL | 2004: www.viper.ch
Gare du Nord: http://www.garedunord.ch
Imprezariat.pl: www.imprezariat.gameboyzz.com
WRO Center for Media Art http://wrocenter.pl
: : : : : : : : : : : : : : : : : : : : : : : : : : : : : :
More info:
Marta Klonowska / project manager
IMPREZARIAT.PL
www.imprezariat.gameboyzz.com
tel. 0048.601.406.977
: : : : : : : : : : : : : : : : : : : : : : : : : : : : : :
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con-v http://www.con-v.org/
Tu-m http://www.tu-m.com/
and Net Label Microbio Records from Mérida, Venezuela
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From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [ot] More on Google
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http://yro.slashdot.org/yro/04/11/07/2043207.shtml?tid=217&tid=153&tid=17
Upon reflection, it's true that Google's image search is not very good, so
it was probably just as plausible that their index hadn't been updated as
that they were censoring the images at the request of the state,
especially given the political culture in the US. But apologies for
evidently jumping to conclusions on the matter.
P
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
{ Phil Thomson
{ home: http://www.sfu.ca/~pthomson
{ label: http://centibel.org/
{ group: http://groups.yahoo.com/group/databenders/
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http://noiseusse.org
and autoplate.org too
can't say enough good things about either of those sites
________________________________________________
Get your own "800" number
Voicemail, fax, email, and a lot more
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Date: Mon, 08 Nov 2004 17:14:10 -0600
From: "Robair, Gino" <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: [microsound] SpoetryFest 04, Wed 11/10 @ 21 Grand, Oakland
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Thread-topic: microsound Digest 7 Nov 2004 17:49:32 -0000 Issue 1289
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FILETIME=[A763DA00:01C4C5E8]
Wednesday, November 10. 8:00 PM, $5-20
SpoetryFest 04: readings and musical interpretations of the accidental poetry of spam.
SpoetryFest 04 celebrates the hidden poetry within everyday junk emails. The event will feature readings of the various types of spoetry and sprose, as well as music derived from spam. The artists include Anne Smith, Tom Duff, Marielle Jakobsons, Gino Robair, Kyle Bruckmann, and Liz Allbee.
21 Grand, 449B 23rd St.
Near 19th Street BART
Oakland
http://www.21grand.org
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From ???@??? Tue Nov 9 04:51:14 2004
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Date: Mon, 08 Nov 2004 20:51:09 -0800 (PST)
From: Gregory Elliott <xxxxxxxx@xxxxxxxxxx.xxx>
Subject: [microsound] Experimental Music Event in Austin, TX Nov. 14
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A night of experimental music at Church of The Friendly Ghost featuring:
Inalonelyplace - ethereal guitar work with analog synth
and sample treatments (from Austin, TX)
Spagirus - prepared mountain dulcimer and toy processing that is kind of Keith Rowe meets Zoviet France with a real penchant for drones (from Austin, TX)
Gray Field Recordings with Techix - arcanely neo-classical and often exploring dark folk territory with violin, viola, electric and acoustic guitar, and sample loops accompanying R. Loftiss's enchanting vocals (from Stillwater, Oklahoma)
Sunday, November, 14
8 pm
5 dollars
Best,
Greg
http://spagirus.ivdt.net
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Date: Mon, 08 Nov 2004 22:26:23 -0800
From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] Sorry everybody
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i don't know what's up with the dns, but here's the numbers
http://72.3.131.10/
On Nov 5, 2004, at 7:33 PM, scott allison wrote:
> odd, not sure whats up... the link went to a site where people are
> posting pictures of themselves with hand written apologies to the
> world, really cool grassroots stuff, and know it seems the site is
> gone???
>
> >http://www.sorryeverybody.com/
> >
> >-Scott Allison
>
> _________________________________________________________________
> FREE pop-up blocking with the new MSN Toolbar – get it now!
> http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
>
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From ???@??? Tue Nov 9 12:47:07 2004
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Date: Tue, 09 Nov 2004 07:47:00 -0500
From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] sounds of Falluja...
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This from today's New York Times:
"For a time, this frightening urban battlefield became a pulsing
cacophony of strange and deadly sounds. The mosques in the city
broadcast calls to jihad through their speakers. F-18's fired 3,000
rounds a minute in bursts that sounded oddly like burps. AC-130 gunships
droned overhead, their big cannons going thunk, thunk as they found
targets.
Perhaps strangest of all, the American troops brought in their own
"psyops" trucks - for psychological operations - and blared sounds that
created a nightmarish duet with the mosques: old AC/DC songs, something
that sounded like a sonar ping, the cavalry charge."
Urban Warfare Deals Harsh Challenge to Troops
By DEXTER FILKINS
Published: November 9, 2004
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Date: Tue, 09 Nov 2004 22:46:30 +0900
From: Bill Ashline <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] sounds of Falluja...
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On Tue, 09 Nov 2004 07:47:00 -0500, vze26m98 <xxxxxxxx@xxxxxxxxx.xxx> wrote:
>
> Perhaps strangest of all, the American troops brought in their own
> "psyops" trucks - for psychological operations - and blared sounds that
> created a nightmarish duet with the mosques: old AC/DC songs, something
> that sounded like a sonar ping, the cavalry charge."
Heavy metal in the service of empire.
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From ???@??? Tue Nov 9 13:57:52 2004
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From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] sounds of Falluja...
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On 11/9/04, Bill Ashline said something like:
>Heavy metal in the service of empire.
I think this technique was first used (or at least first reported)
during the invasion of Panama, where a sound trucks surrounding
Noriega's compound were playing heavy metal at deafening volume 24 hours
a day.
I'll see if I can find the clipping. The NYT had a track listing as I
remember...
<xxxxxxxx@xxxxxxxxx.xxx>
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From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [ot] Sorry everybody
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1954:
"Thousands of letters and telegrams opposing U.S. intervention deluged
the White House. An American Legion with 78,000 members demanded that
'the United States should refrain from dispatching any of its Armed
Forces to participate as combatants in the fighting in Indochina or in
southeast Asia.' There were public outcries against 'colonialism' and
'imperialism.' Senators from both parties rose to denounce any
contemplationn of sending U.S. soldiers to Indochina.... Democratic
Senator Ed Johnson of Colorado declared on the Senate floor: 'I am
against sending American GI's into the mud and muck of Indochina on a
blood-letting spree to perpetuate colonialism and white man's
exploitation in Asia.'
By mid-May, Gallup poll revealed that 68 percent of those surveyed were
against sending U.S. troops to Indochina."
"One of the most widespread fantasies about the Vietnam War blames the
antiwar movement for losing the war by not supporting the government,
thus forcing the military to 'fight with one arm tied behind it's back.'
But this stands reality on its head. Right from the beginning, the
goverment understood that the American people did not and would not
support a war in Vietnam. Therefore, when Washington decided to replace
France in the war against the DRV, it necessarily committed itself to a
covert war, a policy based on deception, sneaking around, hiding its
actions from the American people. Each administration, from Eisenhower
through Kennedy and Johnson to Nixon, was aware that whenever bits and
pieces of the truth about this war leaked out, opposition to the war
would build. Every administration was also aware that each escalation
of the war would intensify forms of opposition. It was the U. S.
government that thus created the internal nemesis of its own war.
Eventually that nemesis of necessity would also emerge inside the army
and navy fighting that war."
H. Bruce Franklin "Vietnam and Other American Fantasies"
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>"The mosques in the city broadcast calls to jihad through their speakers"
false information....what they heard was the adhan...the call to
prayer...not jihad...
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From: carl kruger <xxxxxx@xxxxx.xxx>
Subject: re: [microsound] rescoring of Falluja...
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>...Heavy metal in the service of empire...>
++++++++++
i'd read about a group of iraqi prisoners who'd been
subjected to what one of them later described as
"very loud music with scary voices". which i suppose
could be anything from britney simpson to napalm
death, as long as the amp was on the verge of clipping
and everything came out heavily distorted...
i'd play select sogar tracks...then at least i could
enjoy it while carrying out my patriotic duty.
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I would suggest Merzbow - Pulse Demon or anything by Kazumoto Endo.
Actually, now that I think about it, even at mild volume I've had
trouble listening to the first track of the Japanese Torture Comedy
Hour/Lockweld split cd thanks to it's incredibly harsh pure high
pitches. At high volume I dare say it could seriously demoralize it's
targets. Might be considered torture really.
Trouble with sonic warfare however is that it is very hard to have only
the enemy hear it. Imagine our troops wearing cancelation-headphones
designed to cancel the noise being made by the USA's sonic warfare
division.... of course headphones can fail, so that's probably why this
hasn't been done yet (as far as I've heard).
On Nov 9, 2004, at 11:17 AM, carl kruger wrote:
>
> i'd play select sogar tracks...then at least i could
> enjoy it while carrying out my patriotic duty.
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From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] sounds of Falluja...
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> On 11/9/04, Bill Ashline said something like:
>
>> Heavy metal in the service of empire.
>
> I think this technique was first used (or at least first reported)
> during the invasion of Panama, where a sound trucks surrounding
> Noriega's compound were playing heavy metal at deafening volume 24 hours
> a day.
>
> I'll see if I can find the clipping. The NYT had a track listing as I
> remember...
I heard they also played "these boots were made for walking". Similar
operations took place at Waco.
P
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
{ Phil Thomson
{ home: http://www.sfu.ca/~pthomson
{ label: http://centibel.org/
{ group: http://groups.yahoo.com/group/databenders/
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.
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hi
NY times:
> >"The mosques in the city broadcast calls to jihad through their speakers"
( 04.11.09 07:38 -0800 ) xxxx@xxxxxxxxx.xxx:
> false information....what they heard was the adhan...the call to
> prayer...not jihad...
yet another example of the distortions that permeate the us media. a call to
prayer is 'reported' as a call to war.
who are the terrorists here?
--
\js > /:}[; ;`\/{ http://or8.net/~johns
iraq body count: 14,274 [min] 16,407 [max]
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How to you know it was adhan and not jihad?
It would be great to harrass NYT about this but we would should have proof.
....steve...
xxxx@xxxxxxxxx.xxx wrote:
>>"The mosques in the city broadcast calls to jihad through their speakers"
>>
>>
>false information....what they heard was the adhan...the call to
>prayer...not jihad...
>
>
>
>
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From the Los Angeles Times ("U.S.-Iraqi Force Pushes Into Rebel-Held
Fallouja," Patrick J. McDonnell, Alissa J. Rubin and John Hendren):
At a mosque, a cleric called on militants to fight back.
"God is greatest, O martyrs!" he called out through loudspeakers. "Rise
up, mujahedin!"
G.
john saylor wrote:
> hi
>
> NY times:
>
>>>"The mosques in the city broadcast calls to jihad through their speakers"
>>
>
> ( 04.11.09 07:38 -0800 ) xxxx@xxxxxxxxx.xxx:
>
>>false information....what they heard was the adhan...the call to
>>prayer...not jihad...
>
>
> yet another example of the distortions that permeate the us media. a call to
> prayer is 'reported' as a call to war.
>
> who are the terrorists here?
>
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On Nov 9, 2004, at 7:38 AM, <xxxx@xxxxxxxxx.xxx> wrote:
>> "The mosques in the city broadcast calls to jihad through their
>> speakers"
> false information....what they heard was the adhan...the call to
> prayer...not jihad...
if that's true, then that is quite a massive error in reporting. i'm
inclined to believe it was indeed a call to prayer, simply because if
it was a call to jihad being broadcast via speakers all over town,
you'd think that step one for the military would be to quiet those
speakers. although, i'll admit, if it was a call to jihad, i would
sympathize. i'd jihad the hell out of someone invading my town.
k:p
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Date: Tue, 09 Nov 2004 12:56:33 -0500
From: "Langel Janson L. Bookbinder Esq. IX" <xxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] Net Labels ( Ambient+Glitch )
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wow
i;m on noiseusse
i;m aneurysm
that's funny to see that here......
----- Original Message -----
From: "deluge" <xxxxxx@xxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, November 08, 2004 5:05 PM
Subject: Re: [microsound] Net Labels ( Ambient+Glitch )
> http://noiseusse.org
>
> and autoplate.org too
>
> can't say enough good things about either of those sites
>
>
> ________________________________________________
> Get your own "800" number
> Voicemail, fax, email, and a lot more
> http://www.ureach.com/reg/tag
>
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Date: Tue, 09 Nov 2004 12:03:51 -0600
From: "Robair, Gino" <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: [microsound] use of songs during wartime
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FILETIME=[78365340:01C4C686]
This topic brought a couple of questions to mind:
1. Does ASCAP and BMI track these "public performances" and give royalties to the artists? (if you've ever worked in a coffee shop or bar that plays the radio, you know how persnickety these organizations can be about "collecting" for their artists.)
2. Do the armed forces get permission from the artists and publisher to play these tunes for warfare purposes? Remember what happened when a certain politician co-opted "Born in the USA" w/o getting the artist's permission (or really understanding what the song was about)?
Date: Tue, 09 Nov 2004 07:47:00 -0500
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: sounds of Falluja...
Message-id: <r02010400-1035-738724F8324D11D9A1BE000D932C0D78@[67.84.254.108]>
This from today's New York Times:
"For a time, this frightening urban battlefield became a pulsing
cacophony of strange and deadly sounds. The mosques in the city
broadcast calls to jihad through their speakers. F-18's fired 3,000
rounds a minute in bursts that sounded oddly like burps. AC-130 gunships
droned overhead, their big cannons going thunk, thunk as they found
targets.
Perhaps strangest of all, the American troops brought in their own
"psyops" trucks - for psychological operations - and blared sounds that
created a nightmarish duet with the mosques: old AC/DC songs, something
that sounded like a sonar ping, the cavalry charge."
Urban Warfare Deals Harsh Challenge to Troops
By DEXTER FILKINS
Published: November 9, 2004
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From: izam studio <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] sounds of Falluja...
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> At a mosque, a cleric called on militants to fight back.
>
> "God is greatest, O martyrs!" he called out through loudspeakers. "Rise
> up, mujahedin!"
Pretty understandble seeing as they have been invaded by a bunch of idiots
playing heavy metal
>
>
> G.
>
>
>
> john saylor wrote:
> > hi
> >
> > NY times:
> >
> >>>"The mosques in the city broadcast calls to jihad through their
speakers"
> >>
> >
> > ( 04.11.09 07:38 -0800 ) xxxx@xxxxxxxxx.xxx:
> >
> >>false information....what they heard was the adhan...the call to
> >>prayer...not jihad...
> >
> >
> > yet another example of the distortions that permeate the us media. a
call to
> > prayer is 'reported' as a call to war.
> >
> > who are the terrorists here?
> >
>
>
>
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From ???@??? Tue Nov 9 18:22:14 2004
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From: abby/Gydja <xxxxxx@xxxxxxx.xx.xx>
Subject: Re: [microsound] sounds of Falluja...
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Best synopsis of the situation i've ever heard.
From: "izam studio" <xxxxxxxx@xxxxx.xx.xx>
> Pretty understandble seeing as they have been invaded by a bunch of idiots
> playing heavy metal
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Date: Tue, 09 Nov 2004 18:35:30 +0000
From: Joao Duarte <xx.xxx.xxx@xxxxxxx.xx>
Subject: [microsound] Dark ambient
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FILETIME=[E4DD4770:01C4C68A]
Allow me to share my new EP:
http://www.clubotaku.org/mimi/uk/album26.php
Fear not, it's free.
Cheers,
Joao
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From ???@??? Wed Nov 10 07:57:24 2004
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Date: Tue, 09 Nov 2004 10:45:21 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] re: Hardware setup
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yes I think a TWiki page containing ideal hardware/software setups is a
great idea! we can make a list of links describing what people who
perform live use...I am still on the road and I am doing all my email
offline and emailing it in bulk when I get to a Ethernet connection so
could someone throw together a page and call it something like 'live
laptop rig' or something better?
thanks and greetings from Mons Belgium!
KIM
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From ???@??? Tue Nov 9 20:12:02 2004
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Date: Tue, 09 Nov 2004 15:11:53 -0500
From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] sounds of "Just Cause"
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From the New York Times, December 30, 1989:
"When Mr. Navarro, [Whitehouse spokesman Marlin] Fitzwater's counterpart
in the Vatican, was asked about the blockade of the Papal Nunciature in
Panama City by American troops and their practice of blasting the
building with rock music, he said it was "a very serious matter,"
unacceptable under international law because it interfered with
diplomatic activity.
A senior Vatican offical interviewed by telephone yesterday said the
apparent effort at psyhological warfare was 'ludicrous' and 'childish.'
Loudspeakers outside the Nunciature have been playing tunes like 'Voodoo
Chile,' 'Nowhere to Run,' and 'Smugglers Blues' in what appeared to be
an effort to irritate General Noriega. [Another article mentioned
Twisted Sister.]
Mr. Fitzwater was asked at his briefing in Corpus Christi, Tex., on
Thusrday about whether playing loud rock music outside the Papal
Nuncio's residence was further fraying already frayed nerves inside the
building. He replied, "It was an attempt to disrupt comunications so
that we could have some guarantees of the security of our
conversations.'
'You may recall during the Moscow summit when we had the morning
meetings in the Moscow Embassy and all around, we had music playing of
various kinds to disrupt microwaves and so forth,' he said. 'That's
fairly standard practice.'
When asked about the selection of songs, Mr. Fitzwater said he was
'certainly glad to see the American sense of whimsy come forward inthis
situation.'"
....from January 3, 1990, Russell Baker:
"Suddenly we seemed to be in Dr. Strangelove country. Punishing the
Vatican with heavy-metal rock? Could Gen. Buck Turgidson be behind this
strategy? Or was he actinng on orders from the big fellow in Air Force
One? ('Hit those holy men with every decibel in freedom's arsenal!')"
....and from August 23rd, 1990:
"Why didn't sommeboady think of it sooner? Owners of convenience stores
in the Pacific Northwest have found a fail-safe way to curb teen-age
loitering: they blare out easy-listening music outside their all-night
stores, and the kids flee. At the first swell of Mantovani's strings
from Hoagy's Corner Deli in Tillicum, Wash., 14-year-old Felix Mendola
said 'I'm out of here dude.'"
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Subject: Re: [microsound] use of songs during wartime
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On 11/9/04, Robair, Gino said something like:
>This topic brought a couple of questions to mind: 1. Does ASCAP and
>BMI track these "public performances" and give royalties to the
>artists? (if you've ever worked in a coffee shop or bar that plays the
>radio, you know how persnickety these organizations can be about
>"collecting" for their artists.)
>
>2. Do the armed forces get permission from the artists and publisher
>to play these tunes for warfare purposes? Remember what happened when
>a certain politician co-opted "Born in the USA" w/o getting the
>artist's permission (or really understanding what the song was about)?
Certainly both are very interesting questions. I would also ask,
considering that some psychologist or martially-susceptible microsound
artist could produce more effective "content," what propanganda value
does the choice of songs have?
For the appropriation of these techniques, folks might want to check out
Grey Filastine's/Infernal Noise Brigade's "Moukabir Sawte:"
<http://www.postworldindustries.com/video/MoukabirSawtestream.mov>
....whose targets were media outlets in the Seattle area, I believe.
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--Boundary_(ID_iVXi8DAbOrMGYkQJ+uHbrQ)
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On Tuesday, November 9, 2004, at 11:03 AM, Robair, Gino wrote:
> This topic brought a couple of questions to mind:
> 1. Does ASCAP and BMI track these "public performances" and give
> royalties to the artists? (if you've ever worked in a coffee shop or
> bar that plays the radio, you know how persnickety these organizations
> can be about "collecting" for their artists.)
This is clearly in the terrain of "fair use" as we are obviously
teaching Iraq a lesson and Falluja is technically a "classroom" and not
really a "warzone" (since the war is actually over, remember?)
>
> 2. Do the armed forces get permission from the artists and publisher
> to play these tunes for warfare purposes? Remember what happened when
> a certain politician co-opted "Born in the USA" w/o getting the
> artist's permission (or really understanding what the song was about)?
I think AC/DC made it pretty clear as to their support of the military.
For those about to rock, we salute you...
CommTom
Communications of Tomorrow
"it's only a day away"
unique electronic music for the adventurous ear.
http://www.commtom.com
--Boundary_(ID_iVXi8DAbOrMGYkQJ+uHbrQ)--
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Date: Tue, 09 Nov 2004 15:31:52 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: [microsound] Greyg Filastine + Tactical Sound [was]use of songs during
wartime
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++ Greyg Filastine did a surprise drop-in @ Mutek this year in Montreal, at
SAT and outside Metropolis on the Saturday evening.
"Yah, people playing music, all over again, here at SAT. And people outside,
well one at least, dressed in an orange Guantanamo jumpsuit, with the
noiz-kart, playing the protest beats. Shopping cart, laptop and metal
loudspeaker, why not? None other than Greyg Filastine of Post-World
Industries and ex-!Tchkung! bandmate. Good to see some spontaneous noise,
art and political force arriving in the staid Mutek crowd (and the response
was good from all quarters)."
pictures (including Greyg) + text:
http://minlove.net/index.php?option=com_content&task=view&id=27&Itemid=49
text:
http://dustedmagazine.com/features/266
Those interested in such things might want to check out the Journal of
Tactical Sound. They've got a call out (I've pasted it below).
best, tV
===
Tactical Sound
Contact / For More Information
Alexis Bhagat, editor
xxxxxx@xxxxxx.xxx
Tactical Sound
c/o Jared Bunde
302 Bedford Ave. Box 289
xxxxxx@xxxxxx.xxx
Brookyln, NY 11211
===
Call for Tactical Sound #4 Re: Riot and Protest
1968: Start the Riot!
Why does riot lurk incessantly in the background of phonography? Amid
birdsong, flowing water, traffic and hiss of tape, lurks also creaking
sounds of automobiles being overturned by crowds, smashing glass, beating
helicopter rotors surveying the event, and the shocked voices of broadcast
news correspondents.
Does the tape just pick it all up? Or do phonographers search for it?
In ³Electronic Revolution,² [1970] William S. Burroughs lists the uses of
tape recorders: among them ³as a front-line weapon to produce and escalate
riots.² This suggestion reappears perennially in the work of his disciples,
from Psychic TV onward and outward, until finally, Alec Empire hones the
cut-tape-and-playback experiments into a simple rock and roll formula: ³Riot
sounds create riots!² [Digital Hardcore, 1994]
So what? Can they stop them? Agent Bill, Hassan I Sabbah, gives little
answer ³Could you cool a riot? Maybe, but it¹s a lot easier to start trouble
than to stop it.² There is game, and end of game. Conditioned and not
conditioned. To manipulate peace is still manipulation. ³A front-line
weapon.² The tape-recorder behind the riot keeps war game going. At
front-line, we already fight: pure tactics here. Riot is pure tactics.
Emergent. No strategy.
1999: Remix the Protest!
The cameramen are looking for a riot, frustrated by all the puppets and
unmediated communication of horizontally organized bodies. Where is the
riot, really, in the Carnival against Capital that has been on tour since
November 30th, 1999, except in the press conferences and editorial desks;
except in the imagination of those who do not want to hear the assembly in
the streets? The phonographic archive, drawn from Watts and Detroit,
unwittingly serves the pigs as an easy deployed ³orange netting² [RNC 2004]
of ³probable cause² upon us all. Surely some phonographers have recognized
that and updated their methods with microphones themselves engaged in
protest.
Could you cool a riot? Tactical Sound #5 seeks alternate responses to this
question. Historical and theoretical writings, discographies of riot and
protest recordings, interviews with sound artists and critical writings on
the emerging ²protest remix² genre are all especially welcome. Writings on
the relationship between riot and protest to music may be considered.
Proposals of sound works are encouraged (though funds for a CD companion
have not yet been secured.)
No Deadline for Proposals. Final works due March 2005
Contact / For More Information
post: email:
Tactical Sound
c/o Jared Bunde Alexis
Bhagat, editor
302 Bedford Ave. Box 289
xxxxxx@xxxxxx.xxx
Brookyln, NY 11211
====
> For the appropriation of these techniques, folks might want to check out
> Grey Filastine's/Infernal Noise Brigade's "Moukabir Sawte:"
>
> <http://www.postworldindustries.com/video/MoukabirSawtestream.mov>
>
> ...whose targets were media outlets in the Seattle area, I believe.
>
> <xxxxxxxx@xxxxxxxxx.xxx>
>
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++
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From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] use of loudspeakers during wartime
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<http://www.psywarrior.com/rockmusic.html>
<http://www.psywarrior.com/combatloudspeakers.html>
<http://www.psywarrior.com/loudspeaker.html>
"It was more than an emotional and psychological upheaval, living
through the war. Everyone had recollections, images, experiences and
impressions involving different senses, but especially recollections of
extraordinary sounds heard during air-raids, sirens, explosions,
bombing. A person suffering from shock is often more acutely disturbed
by sound than sight. Several composers, among them Stockhausen, Berio,
Xenakis, report detailed accounts of aural phenomena which have remained
with them twenty years after the experience. The war had accustomed
them to a sound world which had never seemed possible before and each
one had to adjust to it in his own way. This assimilation took many
forms; it explains why, for instance, musique concrete was so quickly
accepted by this generation as a perfectly natural extension of the
sound continuum they had perceived, and secondly, the violence, anger
and horror of the war could be transformed into a music which was openly
aggressive, brutal and violent.... Boulez' earliest compositions bear
such directions as 'violent, abrupt, brutal, without expressive nuance.'
'I think that music should be collective spellbinding and hysteria,
violently real -- following the direction of Antonin Artaud.' was his
viewpoint just after the war."
Nouritza Matossian, _Xenakis_, 1986
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Subject: [microsound] Operating range: up to 1 mile...
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<http://military.technomad.com/index.html>
"The diesel exhaust from armored vehicles would kill any lessor
loudspeaker very quickly. But moreso, the heat output from an M-1 tank
can melt hair and skin within 8 to 10 feet. It's a tough environment for
all the audio and video gear that is out here, with all the exhaust heat
and smoke, compounded with the smoke generated from explosions, flares,
smoke grenades and canon fire. The speakers get the worst of it, and I
could not find anything else on the market that would endure what the
Technomads have to go through. Believe me, I looked!"
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From: michael trommer <xxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] use of sound during wartime
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"Adolf Hitler ordered to equip the Stuka with a screaming siren that made
the sound of its dive far more frightening, giving it a greatly enhanced
psychological effect which terrorized enemy civilians and soldiers with less
than very determined morale, including anti-aircraft gunners which could
fire at it and did not."
http://avanimation.avsupport.com/sound/Stuka.wav
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Date: Tue, 09 Nov 2004 20:19:49 -0800
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Subject: Re: [microsound] sounds of Falluja...
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hmmm...sketch... in english the adhan means
Allah is the greatest
(recited 4 times)
i bear witness that there is none worthy of worship except Allah
(repeated twice)
i bear witness that Muhammad is the messenger of Allah
(repeated twice)
come to prayer
(twice)
come to success
(twice)
Allah is the greatest
(twice)
also it said in the LA Times that they attacked just after nightfall...that
would be just in time for maghrib prayer
best
b
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From: tasty radish <xxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] sounds of falluja
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"..the American troops brought in their own
"psyops" trucks...sounded like a sonar ping, the
cavalry charge."
i bet the sonar ping was quite a bit more then a
ping.. probably the sonar weapon they have now in iraq
(the times writer was probably softening things up
there a bit with the heavy-reference to ac/dc, rather
then reporting the deafening screech and other pulsing
uses of this new weapon -- or too far away to report
accurately, is my guess).
info on the weapon here ->
http://washingtontimes.com/national/20040307-120634-6220r.htm
btw, they've brought this thing out into
demonstrations in the usa... this last summer at the
RNC. Though, it wasn't put into effect. Just parked it
for all to see.
Bout rock n' roll in service -> During the 'first'
gulf war, bombers were dropping bombs to the militant,
chugging, rockin' grooves of Rock the Casbah. (didn't
make Joe Strummer very happy bout that).
__________________________________
Do you Yahoo!?
Check out the new Yahoo! Front Page.
www.yahoo.com
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From ???@??? Wed Nov 10 07:25:58 2004
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Date: Wed, 10 Nov 2004 09:25:30 +0200
From: k o t r a <xxxxx@xxx.xxx>
Subject: [microsound] [spam] new VOLGA mp3 release on Zeromoon
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hi friends,
maybe some of you would be interested.
= = = = = = = = = = = = =
ZEROMOON
http://www.zeromoon.com
VOLGA - Kiasma mp3 EP
Successfully combining experimental electronics with contemporary dance
rhythms and original Russian folklore, Volga is a unique project headed by Alexei Borisov, Anjela Manukjan, Roman Lebedev, & Uri Balashov. This Moscow group combines pagan psychodelia, shamanism, authentic melodies and lyrics from ancient Russian texts (12th -19th centuries) with contemporary experimental electronics. Think Organum meets
Current 93 meets Pan Sonic. You can get this live recording at:
http://www.archive.org/audio/audio-details-db.php?
collection=zeromoon&collectionid=zero052
and bonus news:
Cornucopia - .C. Works 2xCD
Premiere sound art project from Puerto Rico present one cd of their
field recordings+power drones with a second cd of remixes by Omei, Needle & Sony Mao, Lasse Marhaug, Black Sand Desert, RGV, Ultra Milkmaids, David Wells, TV Pow, duul_drv, Andrew Duke, Kim Cascone, Critikal, Zanstones, & Francisco LÑpez. $16
http://www.zeromoon.com
- - -
all the best,
Kotra
http://kotra.org.ua
http://nexsound.org
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Date: Wed, 10 Nov 2004 11:02:07 +0100
From: "xxxx@xxx" <xxxx_xx@xxx.xxx>
Subject: [microsound] acid mothers temple & whitehouse live
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two great live events organized by aufabwegen, please spread the news!
11.11.2004, 21.00h
ACID MOTHERS TEMPLE
&
THE MELTING PARAISO U:F:O:
exclusive german show by these japanese psych-noise-rockers
tickets: 10,00 euros
14.11.2004, 20.00h
W H I T E H O U S E
&
CONSUMER ELECTRONICS
Industrial-Noise-Legends from the UK
tickets: 10,00 euros
both events take place at:
kulturbunker muelheim
berliner str. 20
51063 cologne
germany
info: http://www.kulturbunker-muelheim.de
preview:
27./28.11. asmus tietchens & dj zipo in sweden
10.12. erhard hirt/claus van bebber & tbc (hamburg) at cuba, muenster
11.12. erhard hirt/claus van bebber at kulturbunker muelheim, cologne
12.12. jackie-o motherfucker & hinterlandt at kulturbunker muelheim, cologne
-----------------
a u f a b w e g en
magazine - label - mailorder
p.o.box 100152
50441 cologne
germany
fax.: 0221-2720056
http://www.aufabwegen.com
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Date: Wed, 10 Nov 2004 13:37:31 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: [microsound] [event] target: autonopop
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for those in Berlin:
SATURDAY November 13th, 2004
Blumen
Brunnenstr. 178, Berlin-Mitte
Berlin-Release of the »target: autonopop« Magazine
and
LIVE (from Hamburg): uri geller
(bass/drum/clarinet/organ-quartet producing a very
composed and syncopated non-jazz
racket; danceable for the adventurous)
für diesen abend (duo which
practices a live juxtaposition of sounds, glitches,
field-recordings, and samples)
»target: autonopop« was an exhibition/talk/concert
series at Westwerk/Hamburg (January 2004) which tried
to match art´s claims to autonomy with current
"official" practice. We examine institutions´ recent
fascination with the underground and deliver a
rebuttal to the "no alternative" message of a pop
theory which views consumption as resistance and
vice-versa.
The »target: autonopop« Magazine contains transcripts
of featured talks, as well as contributions from
participating artists and musicians.
Texts are in German, English, and French.
for more information, contact xxxxxxxxxx@xxxxx.xx
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Date: Wed, 10 Nov 2004 10:14:16 -0500
From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: [microsound] war sound project
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hi
what about a project using war sounds? [real or imaginary]
i haven't been able to get the twiki working right for uploading audio
files. some of it is due to my own choices regarding what i do with my
time [my family is splitting up, i still want to make music, i write
stuff, i like to drink beer once in a while, so troubleshooting web
based software (which is what i do for work) is extrememly low on the
list], but everything else on the twiki just worked!
anyway, i'm still trying to get it working, but maybe hotline is better
for this project while i get around to fixing the upload problems.
i just think this is an evocative subject for us all.
--
\js |> ~http://or8.net/~johns ]+'|/?# ~%*;\!^ ^) =#
iraq body count: 14,284 [min] 16,419 [max]
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Hi
Linux users may be interested in this.
best,
Jake
----------------------------------------------------
CALL FOR AUDIO SUBMISSIONS
Linux Open Source Sound CD (L.O.S.S.)
[Planned release date - April 2005]
Deadline for submissions: 07-Jan-05
Access Space, Sheffield's lowtech digital arts organisation, is currently calling for submissions for a CD of audio produced with open source software, and the Linux operating system.
There is no specific theme for the curated works, as the concept behind the project is freedom of all elements of music manufacture, encapsulating style, production software and distribution techniques. We hope to receive submissions covering a broad and eclectic range of styles, to represent the dynamic nature of contemporary open source audio culture. Therefore, contributions are invited from musicians of all types, programmers, sound artists or artists who use sound.
The LOSS CD is to be released under a Creative Commons 'Sampling Plus' license, so as well as being produced with free software, the CD will also extend the ethos of the open source movement into its method of distribution. For more information about this license, please visit http://creativecommons.org.
Please do not submit tracks if you are not willing to release your work in this manner.
The LOSS project will develop not only through the CD release, but also through a website, aimed at being an ongoing portal for producers of open source music to showcase their work. This will also offer the works for redistribution under the Creative Commons licensing mentioned above. This website will be online later in the year at http://www.access-space.org/loss.
How to submit your proposal:
[A maximum of 2 tracks per artist, each between 20 seconds and 8 minutes in length.]
Send a DATA CD containing the following files:
- Your audio track(s) in .wav format, 16bit, 44.1khz in either mono or stereo.
- A text document stating your name, contact details (email and mailing address), track title, track length, the software and operating system used for producing the track, and a declaration that your track does not infringe any copyrights or use any unlicensed material.
- An optional screenshot (in .jpg or .png format) of your software setup - which may be used for artwork purposes.
For more information, or to mail your submission:
Linux Open Source Sound CD
Access Space
1a Sidney Street
Sheffield
S1 4RG
UK
0114 2495522
www.access-space.org
xxxx@xxxxxx-xxxxx.xxx
Access Space is UK registered charity no: 1103837
Funded by Arts Council England, Yorkshire and Digital South Yorkshire.
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From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Lest we forget...
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On 11/10/04, john saylor said something like:
>what about a project using war sounds? [real or imaginary]
Anyone remember this?
<http://amsterdam.nettime.org/Lists-Archives/nettime-l-9911/msg00069.
html>
<xxxxxxxx@xxxxxxxxx.xxx>
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From ???@??? Wed Nov 10 15:48:56 2004
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Date: Wed, 10 Nov 2004 18:04:45 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] Re: Call for audio submissions - Linux Open Source Sound
CD
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Hi Jake,
yes! very much! thanks for posting this. I'm also interested to see who
else submits work. I imagine it will be quite a blend of genres, if the
acts from the last Linux Audio conference in Karlsruhe are any
indication. Everything from German techno to German electroacoustic.
Well, it *was* in Germany, anyway... ;-)
best,
d.
xxxxxxxxxxx@xxx.xxx wrote:
> Hi
> Linux users may be interested in this.
> best,
> Jake
>
> ----------------------------------------------------
> CALL FOR AUDIO SUBMISSIONS
>
> Linux Open Source Sound CD (L.O.S.S.)
>
> [Planned release date - April 2005]
>
> Deadline for submissions: 07-Jan-05
>
> Access Space, Sheffield's lowtech digital arts organisation, is currently calling for submissions for a CD of audio produced with open source software, and the Linux operating system.
>
> There is no specific theme for the curated works, as the concept behind the project is freedom of all elements of music manufacture, encapsulating style, production software and distribution techniques. We hope to receive submissions covering a broad and eclectic range of styles, to represent the dynamic nature of contemporary open source audio culture. Therefore, contributions are invited from musicians of all types, programmers, sound artists or artists who use sound.
>
> The LOSS CD is to be released under a Creative Commons 'Sampling Plus' license, so as well as being produced with free software, the CD will also extend the ethos of the open source movement into its method of distribution. For more information about this license, please visit http://creativecommons.org.
>
> Please do not submit tracks if you are not willing to release your work in this manner.
>
> The LOSS project will develop not only through the CD release, but also through a website, aimed at being an ongoing portal for producers of open source music to showcase their work. This will also offer the works for redistribution under the Creative Commons licensing mentioned above. This website will be online later in the year at http://www.access-space.org/loss.
>
>
> How to submit your proposal:
>
> [A maximum of 2 tracks per artist, each between 20 seconds and 8 minutes in length.]
>
> Send a DATA CD containing the following files:
>
> - Your audio track(s) in .wav format, 16bit, 44.1khz in either mono or stereo.
> - A text document stating your name, contact details (email and mailing address), track title, track length, the software and operating system used for producing the track, and a declaration that your track does not infringe any copyrights or use any unlicensed material.
> - An optional screenshot (in .jpg or .png format) of your software setup - which may be used for artwork purposes.
>
>
> For more information, or to mail your submission:
>
> Linux Open Source Sound CD
> Access Space
> 1a Sidney Street
> Sheffield
> S1 4RG
> UK
> 0114 2495522
> www.access-space.org
> xxxx@xxxxxx-xxxxx.xxx
>
> Access Space is UK registered charity no: 1103837
>
> Funded by Arts Council England, Yorkshire and Digital South Yorkshire.
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 8:
"Accretion"
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Date: Wed, 10 Nov 2004 12:44:47 -0500
From: xxxxx@xxxxxxxxx.xxx
Subject: [microsound] [annc] Max Nite School next week focuses on Max 4.5!
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Dear friends,
next week we're having again our Max "boot camp", a 5 evening intensive course
for Max/MSP users. This course is intended to improve the skills of the Max user
so that they are able to develop their own patches with efficiently and
reliability.
The last version of Max/MSP (4.5) brought many new developments. This new version
allows to incorporate Java, includes a complete new system of presets, and has a
lot of cool new objects. This Max Nite School will focus on the new Max version.
The Max Nite School will be taught by Luke DuBois, who is one of Cycling 74's
developers, and veteran programmer Matthew Ostrowski.
Luke DuBois will also teach a 3-D Jitter workshop on Nov 23.
MAX NITE SCHOOL
Luke DuBois & Matthew Ostrowski
5 Evenings: Mon-Fri, Nov 15-19, 6:30-9:30pm
6:30-9:30 p.m.
$500 members / $565 non-members, membership is $75/yr.
at Harvestworks
596 Broadway, Suite 602, NY City
[F/V Broadway-Lafayette, 6 Bleeker, R/W Prince]
To sign up, call Harvestworks at 212-431-1130
_______________________________________________________________________
Harvestworks is a nonprofit Digital Media Arts Center that provides
resources for artists to learn digital tools and exhibit experimental
work created with digital technologies. Our programs are made possible
with funds from mediaThe foundation, New York State Council on the
Arts, the National Endowment for the Arts, the NYC Dept. of Cultural
Affairs, Materials for the Arts, The Experimental TV Center, the Mary
Flagler Cary Trust, the Aaron Copland Fund, The Greenwall Foundation,
the Jerome Foundation, Foundation for Contemporary Performance Arts, JP
Morgan Chase Foundation and the Rodney White Foundation. Co-produced by
the Electronic Music Foundation.
_______________________________________________________________________
HARVESTWORKS Digital Media Arts Center
596 Broadway, Suite 602 (at Houston St)
New York, NY 10012
Tel: 212-431-1130
http://www.harvestworks.org
mailto:xxxx@xxxxxxxxxxxx.xxx
Subway: F/V Broadway/Lafayette, 6 Bleeker, W/R Prince
_______________________________________________________________________
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Date: Wed, 10 Nov 2004 12:49:38 -0500
From: scant intone <xxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] re: (1.8)sec.comp
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FILETIME=[BC2F6B50:01C4C74D]
Wow. That compilation looks like a great first release, Chris... I look
forward to receiving a copy of this before they're all gone. the upcoming
Sciajno/Cascone album sounds interesting as well.
cheers,
Constantine
~scant_intone___ _
www.panospria.com
www.welovemusique.com
www.phoniq.net
--Original Message--
From "(1.8)sec.records" <chrisbryan78 at gmail dot com>
Date Tue, 26 Oct 2004 10:56:55 -0700
--------------------------------------------------------------------------------
I'm sorry, I may not have been very clear.
(1.8)sec.comp is available through www.1pt8.tk
-chris
--
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
(1.8)sec.records
www.1pt8.tk
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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From ???@??? Wed Nov 10 17:50:31 2004
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Date: Wed, 10 Nov 2004 18:50:26 +0100 (CET)
From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] Contents Onda Sonora 10-11-04
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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 Ma-Ju-Sa / Tu-Th-Sa 18h
www.uam.es/ra
Escucha en directo a cualquier hora / Listen live real
time www.ondasonoraradio.com
_________________________________
CONTENTS ONDA SONORA 10-11-04
01. SIGHTINGS
Track: One Out Of Ten
Album: Arrived In Gold
Label: Load Records
Empezamos la sesión de esta semana en el sello Load
Records, desde Providence, en los Estados Unidos, con
un trío de Nueva York decidido a negarse a sí mismo en
su tercer trabajo para Load. Tras unos comienzos
dentro de lo que podríamos calificar como noise con
formación de rock, al estilo de otros grupos
norteamericanos como Lightning Bolt, ahora nos
sorprenden con un disco minimal que acaba con la
brutalidad de sus anteriores trabajos e investiga en
el ruido desde un punto de vista mucho más minimal.
Tras este "Arrived in Gold", Sightings editarán en los
próximos meses sendos nuevos trabajos en Freedom Form
y Psycho-Path
The session for this week begins at Load Records
offices, in Providence, US, with a New York trio
resolved to refuse themselves on their third work for
Load. After their beginnings as what we could qualify
as a noise project with rock formation, in the way of
some other North American groups such as Lightning
Bolt, now they have surprised everyone with a record
that investigates into the noise from a much more
minimal point of view. After this "Arrived in Gold",
Sightings will release in the next months new works in
Freedom Form and Psycho-Path
02. METALUX
Track: Tribute
Album: Waiting For Armadillo
Label: Load Records
Continuamos en el sello Load Records, esta vez con
Metalux, una formación nacida de la escisión de Brides
of No No, con varios trabajos autoeditados y algunos
más para Hanson records. Se trata de un dúo de
Chicago, con la colaboración de un tercer miembro
ocasional, Twig Harper de Nautical Almanac. Este es su
primer trabajo en Load: Waiting for Armadillo
Still in Load Records, this time with Metalux, a
formation that was born after the split of Brides of
No No, with several auto-released works and some more
for Hanson records. They are a duet of Chicago, with
the collaboration of a third occasional member, Twig
Harper of Nautical Almanac. This is their first work
in Load: Waiting for Armadillo
03. ARBEITSGEMEINSCHAFT FRUCHTTANZ UND ARTVERNANDTE
ORGIEN
Track: Die Heimlichen Wonnen Zinfandels Und Niboshis
Album: Fisch Zum Fruchstuck
Label: Archegon
Formación de nombre impronunciable procedente de
Frankfurt, en Alemania, compuesta por cuatro
componentes entre los que se encuentra Günter Schroth,
director del sello de electrónica e improvisación
Archegon e introductor de la lectura de códigos de
barras en la música, desde un punto de vista estético.
Arbeitsgemeinschaft Fruchttanz Und Artvernandte Orgien
utilizan frecuencias, señales y patrones, manipulan
vinilos y juegan con la electrónica en tiempo real
para construir su primer disco, un oscuro y nervioso
estudio del caos
Formation with an unpronounceable name coming from
Frankfurt, in Germany, operated by four components,
among them Günter Schroth, manager of the electronic
and improvisation label Archegon and introductor of
the code-bar reading into music, from an aesthetic
point of view. Arbeitsgemeinschaft Fruchttanz Und
Artvernandte Orgien use frequencies, signs and
patterns, they manipulate vinyls and play with
electronics in real time to build their first record,
a dark and nervous study of the chaos
04. STEPHAN MATHIEU
Track: On Tape (excerpt)
Album: On Tape
Label: Häpna
Amplia muestra del último disco de Stephan Mathieu,
músico alemán y creador interesado en la construcción
de sonidos por ordenador, aunque en muchas ocasiones
la fuente original de sus grabaciones sean
instrumentos acústicos. Este es el caso de este
trabajo, "On Tape", publicado por el sello sueco
Häpna, en el que parte de una serie de grabaciones del
trío sueco Tape y del saxofonista Magnus Granberg,
junto a su propia percusión, desarrollando un sonido
más orgánico debido a que las fuentes sonoras no han
sido procesadas digitalmente a posteriori
Wide sample of Stephan Mathieu's last album, German
musician and creator interested in the construction of
sounds by computer means, although in many occasions
the original source for his recordings are acoustic
instruments. This is the case of this work, "On Tape",
released by the Swedish label Häpna, in which he
departs from a series of recordings of the Swedish
trio Tape and saxophonist Magnus Granberg, together
with his own percussion, developing a more organic
sound, as the sound sources have not been digitally
reinterpreted at the end
05. GREG DAVIS
Track: Diaphonous (Edit)
Album: Somnia
Label: Kranky
Artista norteamericano afincado en Chicago, quien
también acostumbra a utilizar medios digitales para
procesar sonidos procedentes de instrumentos
acústicos. Este es el caso de su nuevo álbum en el
sello Kranky tras dos discos en Carpark y algunos
trabajos más en varios sellos europeos: Somnia guarda
las formas ambientales marca de la casa Kranky
North American artist settled down in Chicago, who
also accustoms to use digital means to process sounds
coming from acoustic instruments. This is the case of
his new album for the Kranky label after two records
in Carpark and some more in several European labels:
Somnia keeps the environmental mark of the Kranky
imprint
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Date: Wed, 10 Nov 2004 13:45:51 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] re: (1.8)sec.comp
In-reply-to: <xxxxx-xxxxxxxxxxxxxxxxxxxxx@xxxxxxx.xxx>
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+ This is one of the most fascinating 12"s I've heard as well as _depicted_
in some time; each track flows into a locked groove from another artist,
with original locked grooves perched before the centre label. Each remixer
has a track and vice-versa; the two sides act like flip coins, each rotating
into infinity the permutations of other. That is, it combines the aesthetic
experiments of a Brinkmann with the talents and skills of a panoply of
microsound, abstract and compositional electronic musicians connected via
the tangents of their impressive palettes.
tV
> Wow. That compilation looks like a great first release, Chris... I look
> forward to receiving a copy of this before they're all gone. the upcoming
> Sciajno/Cascone album sounds interesting as well.
>
> cheers,
> Constantine
>
>
> ~scant_intone___ _
> www.panospria.com
> www.welovemusique.com
> www.phoniq.net
>
>
>
>
> --Original Message--
> From "(1.8)sec.records" <chrisbryan78 at gmail dot com>
> Date Tue, 26 Oct 2004 10:56:55 -0700
> ------------------------------------------------------------------------------
> --
>
> I'm sorry, I may not have been very clear.
> (1.8)sec.comp is available through www.1pt8.tk
> -chris
>
> --
> ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
> (1.8)sec.records
> www.1pt8.tk
> ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
>
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
--- New School Philosophy --------
ICQ: 18766209 | AIM: thesaibot +++
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Date: Wed, 10 Nov 2004 15:14:03 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] re: (1.8)sec.comp
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any excuse to use the word 'panoply' is an e-mail worth writing.
"tobias c. van Veen" wrote:
> + This is one of the most fascinating 12"s I've heard as well as _depicted_
> in some time; each track flows into a locked groove from another artist,
> with original locked grooves perched before the centre label. Each remixer
> has a track and vice-versa; the two sides act like flip coins, each rotating
> into infinity the permutations of other. That is, it combines the aesthetic
> experiments of a Brinkmann with the talents and skills of a panoply of
> microsound, abstract and compositional electronic musicians connected via
> the tangents of their impressive palettes.
>
> tV
>
> > Wow. That compilation looks like a great first release, Chris... I look
> > forward to receiving a copy of this before they're all gone. the upcoming
> > Sciajno/Cascone album sounds interesting as well.
> >
> > cheers,
> > Constantine
> >
> >
> > ~scant_intone___ _
> > www.panospria.com
> > www.welovemusique.com
> > www.phoniq.net
> >
> >
> >
> >
> > --Original Message--
> > From "(1.8)sec.records" <chrisbryan78 at gmail dot com>
> > Date Tue, 26 Oct 2004 10:56:55 -0700
> > ------------------------------------------------------------------------------
> > --
> >
> > I'm sorry, I may not have been very clear.
> > (1.8)sec.comp is available through www.1pt8.tk
> > -chris
> >
> > --
> > ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
> > (1.8)sec.records
> > www.1pt8.tk
> > ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
> >
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
>
> tobias c. van Veen -----------++++
> http://www.quadrantcrossing.org --
> http://www.thisistheonlyart.com --
> McGill Communication + Philosophy
> --- New School Philosophy --------
> ICQ: 18766209 | AIM: thesaibot +++
>
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Date: Wed, 10 Nov 2004 15:40:55 -0500
From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist for November 3, 2004
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B
> Dear Artist and Label
>
> Welcome to the radio program Whynot Jazz on Toronto's CKLN FM 88.1.
> Heard Every Wednesday Morning from 7am-11am est, 1pm thru most of
> Europe and noon in the UK. Available around the world at:
>
> www.ckln.fm
>
> Here is the playlist from the last Whynot Jazz Program. Please note
> that radio program, hosted by Mike Hansen, takes an outside
> examination of new improvised and jazz musics. Whynotjazz is one of
> the very few voices for progessive new music heard in Toronto or
> around the world.
>
> Why Not?
> 2004/11/03
>
>
> Artist
> Song Title
> Album Title
> Label
>
>
>
> Sture Ericson/Mike Hansen/Tomasz Krakowiak
> live performance
> demo
> independent
>
>
>
> Erosonic
> Circles/Spirals and Spins
> Mystery Theatre
> Victo
>
>
>
> Michiel Braam
> Tristano
> Michiel vs Braam
> Toondist
>
>
>
> Chris Heenan
> The Things We Find
> There Are The Reach ForTeam Up
> Reify Recordings
>
>
>
> Siewert/Brandlmayr
> Axis
> Too beautiful Too Burn
> Erstwhile
>
>
>
> Jeff Gburek
> Improvisation 1
> Energariums
> Nurnichtnur
>
>
>
> Nilan Perera
> Ice Mine
> Harmless Love
> Synaptic Circus
>
>
>
> Christian Fennesz
> 03_02_00
> Live At revolver, Melbourne
> Touch
>
>
>
> Parkade
> 2
> We want To Play Shows
> independent
>
>
>
> Janek Schaefer
> Room 5
> Cold Storage
> Dsp Recordings
>
>
>
> Mats Gustafsson/Sonic Youth
> Hidros 3 Part 3
> Hidros 3
> Smalltown Supersound
>
>
>
> Koch-Schutz-Studer
> Comes and Gones
> Life Tied
> Intakt
>
>
>
> Pau Torres
> Lot Old Radio
> My Wrong Mood
> Testing Ground
>
>
>
> Kim Cascone/Merbow
> 7 Phases
> Rondo/7Phases/Blowback
> Sub Rosa
>
>
>
> Birgit Uhler
> Azodt
> Tidszon Unsk
> Creative Sources
>
>
>
> Carlos Zingaro
> Outsiders
> Exploratory Music From Portugal
> Wire Magazine
>
>
>
> Kye Marshell
> Mad Mary
> Winter's End
> independent
>
>
>
> C.Cawthray/M.Occupinti
> improvisation-Snowfall
> Winter's Music
> Music For Movements
>
>
>
> Ian Yeager
> part 3
> Music for Guitar and Computer
> Pax Recordings
>
>
>
> Etage 34
> D. De, Den, dens
> Tenko
> 33revpermi
>
>
>
> Your support is necessary in keeping this voice for the music current.
> Please feel free to forward music to the address below. Thanks again
> for your support. Keep Listening
>
>
>
> Thanks
> Mike
>
>
> Mike Hansen
> CKLN FM 88.1
> Whynot Jazz Program
> 79 Benson Ave.
> Toronto,On
> Canada
> M6G 2H7
> xxxxxxxxxx@xxxxxxx.xxx
>
>
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Date: Wed, 10 Nov 2004 16:43:58 -0500
From: Anthony Saunders <xxxxxxx@xxxxxxxxxxx.xxx>
Subject: [microsound] usefulness of compressors/mastering in experimental music
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I've been reading about compression and mastering lately and everything
is written from the perspective of pop, rock, or techno music. Can
anyone point me at any documents that discuss mastering & compression
with a less pop-centric perspective? Or failing that, recommend any
really good discussions of this?
I've been recording enormous ambient/noise/granular tracks lately and
am pretty happy with how they sound; I would however like to read more
about mastering and the such to make my recorded output sound as good
as possible. Good being subjective, of course, but I would rather read
about how to "warm" a recording and then decide that I prefer it "cold"
than to be stuck without a choice in the matter.
Anthony
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From ???@??? Wed Nov 10 22:05:20 2004
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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music
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you might want to e-mail twerk (shawn hatfield) about this - that's what
he's doing these days:
http://www.audibleoddities.com/
from his website:
Audibleoddities, a mastering house located in the heart of San Francisco,
owned and operated by Shawn Hatfield (twerk), recording artist for labels;
Force-Inc, Mille Plateaux, Context, Cytrax, Merck, Planet Rhythm,
Template, Tigerbeat6, Ritornell, and 240 volts.
High quality digital and analog mastering services are provided at low
costs bringing affordable mastering to the underground and independent
music community.
With over 7 years of experience mastering everything from dance music,
hip-hop, drum and bass, glitch, obscure experimental, jazz, indie rock,
spoken word, and folk, Audibleoddities has the ear for today's current
trends in mastering, balanced with an understanding of both modern and
past technique.
hope this helps - i know personally, i've been dealing some these
mastering issues in my own music.
g.
Anthony Saunders wrote:
> I've been reading about compression and mastering lately and everything
> is written from the perspective of pop, rock, or techno music. Can
> anyone point me at any documents that discuss mastering & compression
> with a less pop-centric perspective? Or failing that, recommend any
> really good discussions of this?
>
> I've been recording enormous ambient/noise/granular tracks lately and
> am pretty happy with how they sound; I would however like to read more
> about mastering and the such to make my recorded output sound as good
> as possible. Good being subjective, of course, but I would rather read
> about how to "warm" a recording and then decide that I prefer it "cold"
> than to be stuck without a choice in the matter.
>
> Anthony
>
> ---------------------------------------------------------------------
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From: Antiopic | Info <xxxx@xxxxxxxx.xxx>
Subject: [microsound] Antiopic New Release: ATELEIA
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ANTIOPIC NEW RELEASE
ATELEIA
Swimming Against The Moments
AN007
http://antiopic.com/catalog/an007.html
Structurally founded on conscious allusions to "pop", "ambient",
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From: John McCaig <xxxxxxxx@xxxxx.xxx>
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On Wed, 10 Nov 2004 16:43:58 -0500, Anthony Saunders
<xxxxxxx@xxxxxxxxxxx.xxx> wrote:
>
> I've been reading about compression and mastering lately and everything
> is written from the perspective of pop, rock, or techno music.
When i master ambient/abstract/electronic music, i use techniques that
are using in mastering classical music. i find that translates very
well to what we do with bleeps and bloops.
--
john mcCaig | www.johnmccaig.com
xxxxxxxx@xxxxx.xxx
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Date: Wed, 10 Nov 2004 15:13:42 -0800
From: Sutorus David A MSgt 752 AMXS/MXAA <xxxxx.xxxxxxx@xxxxx.xx.xxx>
Subject: [microsound] Merzbox as Counter-terrorism deterrent
To: 'microsound' <xxxxxxxxxx@xxxxxxxxx.xxx>
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As a member of the military community, I have suggested a much more
effective plan to the higher echelon of the Psyops community...
I feel that using the MERZBOX at high volume as a counter-terrorism weapon
would be a much more efficient weapon while at the same time it would add a
valuable album to my collection since I am contracting myself out to buy my
own copy and get the military a volume discount on this and other Merzbow
releases as well. >;-)~
============================================================================
> At a mosque, a cleric called on militants to fight back.
>
> "God is greatest, O martyrs!" he called out through loudspeakers. "Rise
> up, mujahedin!"
Pretty understandble seeing as they have been invaded by a bunch of idiots
playing heavy metal
>
>
> G.
>
>
>
> john saylor wrote:
> > hi
> >
> > NY times:
> >
> >>>"The mosques in the city broadcast calls to jihad through their
speakers"
> >>
> >
> > ( 04.11.09 07:38 -0800 ) xxxx@xxxxxxxxx.xxx:
> >
> >>false information....what they heard was the adhan...the call to
> >>prayer...not jihad...
> >
> >
> > yet another example of the distortions that permeate the us media. a
call to
> > prayer is 'reported' as a call to war.
> >
> > who are the terrorists here?
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From: Sutorus David A MSgt 752 AMXS/MXAA <xxxxx.xxxxxxx@xxxxx.xx.xxx>
Subject: [microsound] Merzbox as Counter-terrorism deterrent
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-----Original Message-----
From: Sutorus David A MSgt 752 AMXS/MXAA
Sent: Wednesday, November 10, 2004 1:14 PM
To: 'microsound'
Subject: [microsound] Merzbox as Counter-terrorism deterrent
As a member of the military community, I have suggested a much more
effective plan to the higher echelon of the Psyops community...
I feel that using the MERZBOX at high volume as a counter-terrorism weapon
would be a much more efficient weapon while at the same time it would add a
valuable album to my collection since I am contracting myself out to buy my
own copy and get the military a volume discount on this and other Merzbow
releases as well. >;-)~
============================================================================
> At a mosque, a cleric called on militants to fight back.
>
> "God is greatest, O martyrs!" he called out through loudspeakers. "Rise
> up, mujahedin!"
Pretty understandble seeing as they have been invaded by a bunch of idiots
playing heavy metal
>
>
> G.
>
>
>
> john saylor wrote:
> > hi
> >
> > NY times:
> >
> >>>"The mosques in the city broadcast calls to jihad through their
speakers"
> >>
> >
> > ( 04.11.09 07:38 -0800 ) xxxx@xxxxxxxxx.xxx:
> >
> >>false information....what they heard was the adhan...the call to
> >>prayer...not jihad...
> >
> >
> > yet another example of the distortions that permeate the us media. a
call to
> > prayer is 'reported' as a call to war.
> >
> > who are the terrorists here?
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From ???@??? Wed Nov 10 23:16:57 2004
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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music
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what techniques are those exactly? more attention to EQ rather than
compression, i'm guessing?
John McCaig wrote:
> On Wed, 10 Nov 2004 16:43:58 -0500, Anthony Saunders
> <xxxxxxx@xxxxxxxxxxx.xxx> wrote:
> >
> > I've been reading about compression and mastering lately and everything
> > is written from the perspective of pop, rock, or techno music.
>
> When i master ambient/abstract/electronic music, i use techniques that
> are using in mastering classical music. i find that translates very
> well to what we do with bleeps and bloops.
>
> --
> john mcCaig | www.johnmccaig.com
> xxxxxxxx@xxxxx.xxx
>
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From ???@??? Wed Nov 10 23:32:24 2004
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From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
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> with a less pop-centric perspective? Or failing that, recommend any
> really good discussions of this?
I would strongly recommend Bob Katz' "Mastering Audio: The Art and the
Science" -- it's a thorough discussion of pretty much every consideration
in mastering, peppered with useful anecdotes. I consider it a top-shelf
reference... even though I only ever work in "experimental" veins...
http://www.amazon.com/exec/obidos/tg/detail/-/0240805453
Note that you can "look inside" to flip through the book...
best,
aaron
xxxxx@xxxx.xxx
http://www.quietamerican.org
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Date: Thu, 11 Nov 2004 01:06:25 +0100
From: Kassen <xxxxxx@xxxxxx.xxxx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music
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Anthony Saunders;
>
> I've been reading about compression and mastering lately and everything
> is written from the perspective of pop, rock, or techno music. Can
> anyone point me at any documents that discuss mastering & compression
> with a less pop-centric perspective? Or failing that, recommend any
> really good discussions of this?
So far all comments have been on mastering and not on the creative use of
compression. I found that compressors, particualarly those equiped with side
chains are extremely usefull in making corrections to volume envelopes of
synthetic, algorithmic, sounds where normal envelopes are not involved in
how the sound is generated, particularly for realtime aplications. I fear
this is a underapreceated aspect of compression but it´s a very valid one.
Some of the techniques I use include delaying the side chain by some
relatively short amount of time, heavy eq on the side chain of sounds that
change pitch or harmonic content over their duration and mixing elements
into the sidechain that do not apear anywhere else. In modular synthesis I
think it´s very usefull to keep the (or a) compressor inside of the patch
itself instead of "over" it.
If there are good articles on these techniques I´m unaware of them. My chief
recomendation would be to think of compressors in terms of what they do and
what they can be used for instead of how they are most often used. A very
interesting exersise is building your own in some software language or
system so you can take controll of parameters normally not accessible or
included.
Applogies if this sounded trivial, it´s meant to encourage, not to be the
final word.
As a side note; the compressor module of the original Nord Modular has a bug
where it can "click" or "pop" the moment the limiter is turned on or off. If
you keep your signal floating around this tresshold rather pleasant lowfi
effects can be created. That does not answer any question here but I
couldn´t bring myself to neglect mentioning it, seeing as this list is suppo
sed to be about post-digital aesthetics and techniques.
Yours,
Kas.
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From ???@??? Thu Nov 11 02:12:09 2004
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On Wed, 10 Nov 2004 18:20:13 -0500, graham miller
<xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> what techniques are those exactly? more attention to EQ rather than
> compression, i'm guessing?
i tend to try to respect the dynamics of the piece i am mastering,
which a lot of ambient/microsound music uses as its theme at times,
with too much compression some quiet parts could be mistakingly
brought to the fore.
For me mastering is really about presenting a final set of works as a
cohesive release and statment -- as mp3s, CD, or etc, and i find it
rather difficult to master just one song. i suggest mastering only
when the release/work is completely finished.
and i do recommend bob katz book as well. :)
--
john mcCaig | www.johnmccaig.com
xxxxxxxx@xxxxx.xxx
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Date: Thu, 11 Nov 2004 13:24:14 +1100
From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] Hobart: LINGO : Friday November 19th @ SIRENS : 6
Victoria Street : 9pm till 2am
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Here's some info on an event in Hobart Tasmania. A real mash of electronic
sound, many languages and lotsa diverse weirdos... (goths, punks, dweebs,
secretaries etc)
here's da hype
___________
After making the dancefloor of SIRENS explode in September, local Hobart
crew Cluster and Melbourne mob Uber_Lingua join forces once again to create
another Tasmanian cultural collision of the sonic kind.
LINGO : Friday November 19th @ SIRENS : 6 Victoria Street : 9pm till 2am
This time calling on the DJ talents of a Greek, a Japanese and a Bulgarian
.... alongside a solid crew who were involved in the first LINGO, this event
takes the music-language threshold beyond it's limits...
ADP is a Melbourne raised Greek who has a solid background both behind the
decks and on the Mic as a Hip Hop MC, and has recently turned his attention
to Greek hip hop to great affect.
Kaigen is a recent arrival from Japan and has released an EP on the label
Caibyaku Records. His MC style could be described as a yelping form of
rapping, and when he DJs he brings out an incredibly diverse selection of
quality Experimental Japanese sounds never heard in Australia.
Bulgarian FSB moved to Australia a few years back and specialises in tracks
from 'his region', that being Bulgaria of course, and Russia, Romania, the
Baltic states etc... this however doesn't stop him playing tracks from other
regions of the planet...
bP, a founding DJ of the Uber_Lingua movement is basically obsessed in
multi-lingual music, a side affect of being the music producer of SBS
Alchemy for many years. Having tracks in his collection in over sixty
languages and many styles allows him to instinctively move from continent to
continent, language to language, genre to genre...
Local DJs Gusto, Sakamoiz and vocalist/MCs Creator from Sierra Leone, and
Happypicu from Japan complete the lineup.
The Cluster Collective are well known for their gigs that unify the various
splinters of the Hobart music scene, by incorporating a range of creative
forms from DJs, VJs to Super-8 film with both established and fresh local
artists.
Uber_Lingua in an emerging entity that currently hosts a weekly club in the
inner city of Melbourne, focusing on multi-lingual music and urban culture
from all over the world.
look at http://www.uberlingua.com for more info, free mp3s and artist
bios...
Demos can be sent to Uber Lingua PO Box 2613 Fitzroy 3065
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Date: Thu, 11 Nov 2004 00:20:59 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music/glitch
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the whole issue of mastering/perfecting is interesting considering the
glitch aesthetic.. this idea of dwelling in mistakes.. the idea of
perfecting or polishing off a mistake seems counterproductive. i mean,
look at punk music... as i've always said, my definition of grunge is
punk with a budget. it becomes something else, maybe not something
desirable, but certainly something else. part of the authenticity tied
to punk is low or intentionally low production values... can the same be
said of microsound, particularly the glitch aesthetic?
g.
John McCaig wrote:
> On Wed, 10 Nov 2004 18:20:13 -0500, graham miller
> <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> > what techniques are those exactly? more attention to EQ rather than
> > compression, i'm guessing?
>
> i tend to try to respect the dynamics of the piece i am mastering,
> which a lot of ambient/microsound music uses as its theme at times,
> with too much compression some quiet parts could be mistakingly
> brought to the fore.
> For me mastering is really about presenting a final set of works as a
> cohesive release and statment -- as mp3s, CD, or etc, and i find it
> rather difficult to master just one song. i suggest mastering only
> when the release/work is completely finished.
>
> and i do recommend bob katz book as well. :)
>
> --
> john mcCaig | www.johnmccaig.com
> xxxxxxxx@xxxxx.xxx
>
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Date: Thu, 11 Nov 2004 00:43:02 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] check this IDM/glitch/funk lovers...
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http://www.djkenan.com/mixes.html
some great glitchy/minimal/IDM mixes.
i like this DJ a lot.
graham.
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Date: Thu, 11 Nov 2004 12:00:07 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music
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Kassen wrote:
> A very
> interesting exersise is building your own in some software language or
> system so you can take controll of parameters normally not accessible or
> included.
In "Derek's academy for computer musicians", this exercise would be
mandatory ;-) Not only for compressors, but for all those different
kinds of effects where people just download a VST and happily twiddle
the knobs without knowing anything about what happens under the GUI.
A while back, someone was aksing if it made sense to make your own
granulator [for example] in PD even where there were "ready made"
granulators and other effects easily available. For me, there is so much
more potential in knowing how something works because you've built it
from the bottom up. Software, and the especially the visual metaphors of
software [take a look at Reason, for example, or Flash], are so strongly
deterministic in making art, and there is always some parameter, effect
or trick which you will want but the person who made your program for
you never thought of.
So this is my rationale for telling everyone to learn some kind of
rudimentary programming, even if just through PD or MAX. In my mind,
it's the difference between a software user and a computer artist.
</rant><and now back to our regularly schedualled thread on compressors>
d.
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 182:
"What wouldn't you do?"
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From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] [ann] Amsterdam: Alan Bishop (Sublime Frequencies/Sun
City Girls)
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Dear microsounders in Holland,
I will be interviewing Alan Bishop about the field recording series
"Sublime Frequencies" as part of the Tuesday Night Series at De Appel in
Amsterdam this next Tuesday. Please come by if you have some time!
derek
***
TUESDAY NIGHT PROGRAM:
16 November 2004 ALAN BISHOP (SUN CITY GIRLS/SUBLIME FREQUENCIES)
08.30 p.m.: Interview with Alan Bishop.
Admission: E 5,-
Reservations: xxxxx@xxxxxxx.xx or + 31 (0)20-625 56 51
http://www.deappel.nl/english/tuesday/index.html
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 70:
"Feedback recordings into an acoustic situation"
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From: Alex Young <xxxx@xxxxx.xx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music
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On 11 Nov 2004, at 11:00, derek holzer wrote:
> So this is my rationale for telling everyone to learn some kind of
> rudimentary programming, even if just through PD or MAX. In my mind,
> it's the difference between a software user and a computer artist.
Don't you find it just as interesting when musicians use software in
original ways that it wasn't intended? I've seen people doing fantastic
things with software like Reason, Bidule and Numerology that I never
expected to see. I've seen umpteen Pd/Supercollider/Max-based laptop
performances with no thoughts beyond 'making cool sounds' which
somewhat disillusioned me with the whole affair.
I'm aware that it's all too often that people use software like Reason
and Acid to make incredibly dull dance music. I just think it's
dangerous to judge artistic credibility that way.
I personally use Supercollider, Pd and cSound, but that's mainly
because programming is my day job and I often fall into that line of
thinking. Sometimes I get too overly concerned with the technical
(software) side of music and don't achieve what I wanted to
artistically, which is why I also use commercial software designed
primarily for musicians. I expect a few people around here do the
same, and use software like Pd or Max to understand things more
intimately (as you pointed out).
--
homepage: http://alexyoung.org
music: http://noise.me.uk
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Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music/glitch
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I've found that often times the glitch style of production /
composition that's so popular these days tends to be more about the
aesthetic of mistakes, and less about the actual mistakes themselves.
That is, it's about making the listener feel like something's gone
awry, like there's a wrench in the gears of the song. Taking that into
consideration, it certainly makes sense to polish and massage the
mistake-ness of a song to perfection.
The punk aesthetic / ethic is perhaps too big a can of worms to open up
without scores of the same old arguments about what is and isn't Punk.
I will say this, though: Avril Lavigne is without a doubt the Only True
Punk Rocker Left. Absolutely no question.
Anyhow, I find the idea of altering a composition in any way to give it
a more "authentic" aesthetic to be kind of pretentious, unless your
goal is to stick to the tradition of a particular genre. However, with
such a young and varied genre as electronic music, I dunno if that
really applies, since there's no real tradition to remain true to.
Unless you count dance music. Ugh.
-QF8
http://scatterbrain.raygunarmy.com/
On Nov 10, 2004, at 09:20pm, graham miller wrote:
> the whole issue of mastering/perfecting is interesting considering the
> glitch aesthetic.. this idea of dwelling in mistakes.. the idea of
> perfecting or polishing off a mistake seems counterproductive. i mean,
> look at punk music... as i've always said, my definition of grunge is
> punk with a budget. it becomes something else, maybe not something
> desirable, but certainly something else. part of the authenticity tied
> to punk is low or intentionally low production values... can the same
> be
> said of microsound, particularly the glitch aesthetic?
>
> g.
>
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From: derek holzer <xxxxx@x-x.xxx>
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Hi Alex,
and thanks for your insight on this, especially from someone who comes
form the programming side of sound.
Alex Young wrote:
> Don't you find it just as interesting when musicians use software in
> original ways that it wasn't intended?
Absolutely. I love suprises! But I can almost guarentee that those
people who can hack the pretty-looking commerical stuff and make it jump
through hoops of fire have a knowledge of their computers as
sound-and-data-processing instruments that the lazy GUI-addict simply
doesn't. Their creative process with these applications doesn't depend
on their skill in using limited possibilities given by the programmers,
but on their skill in manipulating the computer itself.
Take Woody and Steina Vasulka, who pretty much invented everything that
VJs take for granted now--the direct interaction of audio and video
signals. They started by hacking the tools of analog music synthesis and
running video signals through it because the tools for what they wanted
to make didn't exist. But this took a level of familiarity with the
technology, and not just blind luck pushing buttons.
> I've seen umpteen Pd/Supercollider/Max-based laptop
> performances with no thoughts beyond 'making cool sounds' which somewhat
> disillusioned me with the whole affair.
Yes, of course. And how many technical sacks-of-tricks from the "demo
scene" were interesting beyond the fact that the dude could hurl ten
thousand spinning cubes a second out of the screen, and he wrote it in
Assembler? ;-) I am aware of the dangers of becoming programming-centric
in the approach to art. I just came back from a conference on open
source video applications where these dangers were well displayed. You
had very good programmers demoing their stuff, but what you saw was a
hodge-podge mess of video clips being run through every filter they had
ever designed, one after the other. In this case, the art on display was
the code itself--and code worthy of the name "art" it was. The video on
the screen, however, was simply one instance of that code at work [like
a lot of Live or Reason tracks...]
> I'm aware that it's all too often that people use software like Reason
> and Acid to make incredibly dull dance music. I just think it's
> dangerous to judge artistic credibility that way.
The fact that one has programmed an application one's self doesn't give
it automatic artistic credibility, and I'm not necessarily judging
credibility on these grounds. But I am making some distinctions between
using the computer itself as a creative tool versus using one or the
other piece of software as a creative tool.
One approach is very limited in its scope and tends towards the
production of default results, i.e. what the software was intended to
make. I've referred to this elsewhere as "digital folk music", and I'll
stick by my guns on that one.
The other approach can also, necessarily, produce "bad art" or "bad
music". But I am interested just as much in the process of how art is
created as in the end result, or "instance", of that process. It is
necessary to the context and the enjoyment for me.
There are others on this list and around the world that just want to
listen to something "that rocks", and that's fine. Personally, learning
even the most basic things about how computers actually work had a huge
effect on my work in the best possible ways. But it took time. And when
I just want "results", and I've gone as far as I am interested in my own
process of crafting sounds, you might catch me twiddling the odd plugin
late at night. But hey, I didn't write my own multitracker either! ;-)
best,
d.
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 51:
"Distorting time"
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On 11 Nov 2004, at 12:07, derek holzer wrote:
> Yes, of course. And how many technical sacks-of-tricks from the "demo
> scene" were interesting beyond the fact that the dude could hurl ten
> thousand spinning cubes a second out of the screen, and he wrote it in
> Assembler? ;-) I am aware of the dangers of becoming
> programming-centric in the approach to art. I just came back from a
> conference on open source video applications where these dangers were
> well displayed. You had very good programmers demoing their stuff, but
> what you saw was a hodge-podge mess of video clips being run through
> every filter they had ever designed, one after the other. In this
> case, the art on display was the code itself--and code worthy of the
> name "art" it was. The video on the screen, however, was simply one
> instance of that code at work [like a lot of Live or Reason tracks...]
I grew up looking up to the demo scene, those old Amiga demos were the
reason I got into programming! Being young, I never really questioned
the validity of what they were doing beyond technical tricks. I find
it interesting that you point this danger out, Steve Sacks discusses
something similar briefly in this paper (see the 'screen saver
comparison'):
http://www.aec.at/en/archives/festival_archive/festival_catalogs/
festival_artikel.asp?iProjectID=12510
I've been looking at a lot of software art recently, and I find it sad
that people don't distribute their code more often. What I'm hinting
at here is in response to your comment: "The video on the screen,
however, was simply one instance of that code at work."
There's even less people using open standards such as SVG to create
art, rather than Flash/Shockwave. While there is some excellent
Shockwave stuff out there, I couldn't even SEE Shockwave until last
year when I added a Mac to my setup (until then it was all x86 Linux).
By the way, what conference was it?
Thanks,
Alex
--
homepage: http://alexyoung.org
music: http://noise.me.uk
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From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] usefulness of code and open standards
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Alex Young wrote:
> I've been looking at a lot of software art recently, and I find it sad
> that people don't distribute their code more often.
I'm in complete agreement. Once you start to consider the artistry in
creating and manipulating code, it seems ridiculous that people would
want to hide that. Seems like people should be proud to show how they
made something. I usually hate painting metaphors, but it's a bit like
seeing the brush-strokes.
More on topic, however--if each video or sound is an instance or example
of that code at work, then the code itself is really the "composition",
and should be accessible as such. Now, I can read music about as well as
I can read C++ [in fits and starts ;-) ], but if you restricted people's
ability to appreciate Bach to a recital, and kept the scores hidden away
from public sight, Classical music as we know it simply wouldn't exist.
> There's even less people using open standards such as SVG to create
> art, rather than Flash/Shockwave.
There is a lot of danger in creating something that only plays with one
piece of software, and which requires an end-user license agreement from
each viewer. I.e. it is not legal to distribute a copy of Shockwave
player with your Shockwave file--each person has to go to Macromedia and
get their own player and click on their own license agreement. This is
exactly one point that the GPL is supposed to get around!
Besides that, think about all those early RealPlayer codecs that are now
unsupported! No one else can legally make a player for them [the codec
is closed + proprietary], so you are talking about almost two years of
content encoded for Real which cannot be viewed or heard *ever* again
[legally, at least]. Or old video game ROMS, etc.
Adam Hyde/radioqualia has written a nice rant about this in his open
streaming manual:
http://www.radioqualia.net/streaming_manual
> By the way, what conference was it?
PIKSEL, at BEK in Bergen, Norway:
http://www.piksel.no/piksel04/index_html
ciao,
d.
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 53:
"Do something boring"
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From: Matthew Mitchell <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
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>>Absolutely. I love suprises! But I can almost guarentee that those
people who can hack the pretty-looking commerical stuff and make it jump
through hoops of fire have a knowledge of their computers as
sound-and-data-processing instruments that the lazy GUI-addict simply
doesn't. Their creative process with these applications doesn't depend
on their skill in using limited possibilities given by the programmers,
but on their skill in manipulating the computer itself.
This strikes me as unnecessarily pejorative in tone. In the interest of full disclosure, I'm not a hacker/programmer-type; I come to microsound from the side of the 'old-school' musician, though I've been working with computer music for a few years. I use a PC, primarily running CDP, with AudioMulch and Granulab to help sometimes. Though I have programming background from ages ago, long enough ago that its actually fairly irrelevant to what I'm doing now, computer-music-wise.
I'd counter, though, that there's arguably a world between the two poles you set out - fire-breathing hacker vs. 'lazy-GUI addict' - and that some people may choose to live near the equator.
Plus, I'm hard-pressed to think of an artist who doesn't want restrictions (your 'limited possibilities') within which to work. [not crowning all plug-in addicts as artists, of course]
>>Take Woody and Steina Vasulka, who pretty much invented everything that
VJs take for granted now--the direct interaction of audio and video
signals. They started by hacking the tools of analog music synthesis and
running video signals through it because the tools for what they wanted
to make didn't exist. But this took a level of familiarity with the
technology, and not just blind luck pushing buttons.
Maybe you wouldn't go this far, necessarily, but by your logic, in order to be better musicians, then pianists, drummers, etc. need to understand the physics of the soundwaves emanating from their instruments. In any case, I wouldn't agree.
> I've seen umpteen Pd/Supercollider/Max-based laptop
> performances with no thoughts beyond 'making cool sounds' which somewhat
> disillusioned me with the whole affair.
>>In this case, the art on display was
the code itself--and code worthy of the name "art" it was. The video on
the screen, however, was simply one instance of that code at work [like
a lot of Live or Reason tracks...]
I'd be careful about calling code art, regardless of the sophistication involved. No doubt this will raise the ire of programmers, but it doesn't exist for its own sake - it has other uses, and aesthetic considerations are not primary. That alone makes it 'not art.' Code programmers are closer to artisans than artists, I'd say. I do know that for me, though, even with my quite limited knowledge, code certainly has more 'net intellectual value' than much shitty music.
>>One approach is very limited in its scope and tends towards the
production of default results, i.e. what the software was intended to
make. I've referred to this elsewhere as "digital folk music", and I'll
stick by my guns on that one.
This again is pejorative. By placing such a term on such music, you're arguably tying the music's worth to that one characteristic. It strikes me as being as meaningful as saying that music that uses oboes is automatically 'classical music'.
Plus, do you really think that you could tell the difference between 'digital folk music' and ' the other kind' (the 'good' kind) in a blind listening test? That is, do you really think that you'd know it if you heard it?
>>The other approach can also, necessarily, produce "bad art" or "bad
music". But I am interested just as much in the process of how art is
created as in the end result, or "instance", of that process. It is
necessary to the context and the enjoyment for me.
I am too. I should mention that I am, in fact, geniunely interested in the programming aspect of computer music. Anyway, perhaps my objection is purely based on my distaste for placing process on an equal plane to the artistic result. That may extend to distaste for at least some music that's intentionally created in such a way too, though I'm not entirely sure. But all art is at least partially the result of processes that are not quantifiable by code, and I'd say that's true with 'microsound' as well. That's part of what makes it art.
-matt
www.mattmitchell.us
Listen to free music, read the blog, sign the guestbook!
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oh well how positively opportunistic of you... perhaps you should work
for Haliburton, I hear they are hiring.
On Wednesday, November 10, 2004, at 04:15 PM, Sutorus David A MSgt 752
AMXS/MXAA wrote:
>
>
> -----Original Message-----
> From: Sutorus David A MSgt 752 AMXS/MXAA
> Sent: Wednesday, November 10, 2004 1:14 PM
> To: 'microsound'
> Subject: [microsound] Merzbox as Counter-terrorism deterrent
>
>
> As a member of the military community, I have suggested a much more
> effective plan to the higher echelon of the Psyops community...
>
> I feel that using the MERZBOX at high volume as a counter-terrorism
> weapon
> would be a much more efficient weapon while at the same time it would
> add a
> valuable album to my collection since I am contracting myself out to
> buy my
> own copy and get the military a volume discount on this and other
> Merzbow
> releases as well. >;-)~
>
> =======================================================================
> =====
>> At a mosque, a cleric called on militants to fight back.
>>
>> "God is greatest, O martyrs!" he called out through loudspeakers.
>> "Rise
>> up, mujahedin!"
>
> Pretty understandble seeing as they have been invaded by a bunch of
> idiots
> playing heavy metal
>
>>
>>
>> G.
>>
>>
>>
>> john saylor wrote:
>>> hi
>>>
>>> NY times:
>>>
>>>>> "The mosques in the city broadcast calls to jihad through their
> speakers"
>>>>
>>>
>>> ( 04.11.09 07:38 -0800 ) xxxx@xxxxxxxxx.xxx:
>>>
>>>> false information....what they heard was the adhan...the call to
>>>> prayer...not jihad...
>>>
>>>
>>> yet another example of the distortions that permeate the us media. a
> call to
>>> prayer is 'reported' as a call to war.
>>>
>>> who are the terrorists here?
>
>
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>
CommTom
Communications of Tomorrow
"it's only a day away"
unique electronic music for the adventurous ear.
http://www.commtom.com
--Boundary_(ID_zk55xqi8lfbqC8puQs0TEQ)--
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>In "Derek's academy for computer musicians",
>this exercise would be mandatory ;-) Not only
>for compressors, but for all those different
>kinds of effects where people just download a
>VST and happily twiddle the knobs without
>knowing anything about what happens under the
>GUI.
why not chip design? data storage architecture?
code/language creation (not merely utilizing
previous codes)? making an iIl-Logic-based
digital architecture? (a thousand pardons to the
illogik crew in Stockholm now
http://www.illogik.com )
>A while back, someone was aksing if it made
>sense to make your own granulator [for example]
>in PD even where there were "ready made"
>granulators and other effects easily available.
>For me, there is so much more potential in
>knowing how something works because you've built
>it from the bottom up. Software, and the
>especially the visual metaphors of software
>[take a look at Reason, for example, or Flash],
>are so strongly deterministic in making art, and
>there is always some parameter, effect or trick
>which you will want but the person who made your
>program for you never thought of.
>
>So this is my rationale for telling everyone to
>learn some kind of rudimentary programming, even
>if just through PD or MAX. In my mind, it's the
>difference between a software user and a
>computer artist.
Yeah, Derek, rants move your intelligence into
dogmatic spaces that don't compliment it... What
about a more principled look at this issue? For
example, why the apparent divide between software
and hardware? For each machine, Open
source-driven or not, is constructed with
hardware -- the most critical to its formative
architecture being the processor which RIGIDLY
defines what can happen with that tool, and is
most often constructed from a deeper (corporate)
legacy that is eventually traceable to the
post-WWII military-industrial buildup that arose
in the belly of Amurika. Each and every machine
and code is deeply rooted in this legacy of
controlling the world (to ensure survival of the
owner of the machine). That legacy is traced out
in subtle and obvious ways, and it is only a
matter of local and limited perception that say
it's better to use one or the other. Wide-spread
control and the ensuing restrictions on creative
expression, as defined by the hard and soft
architectures of technology are pervasive
features of the landscape we inhabit. Code, as
one particular construct of language, deeply
conforms to the necessities of the social system
it is embedded in. And, as code arose deep in
the culture of aggression it certainly carries
paradigms that dis-allow creative expression in
one form or another.
Rather than drawing what seem to me -- based
partly on the above observations to be arbitrary
differences -- exclusionary lines (in what is
really amorphous silica, sand), isn't there a way
to draw the principles that are inclusive? For
example: Each instrument has a set of
limitations 'by nature' and by social construct
that determine use. 'Natural' limitations
control the situation -- might be something like
blowing into the 'right' end of a horn -- but
even that is largely a socially coded value --
why not blow into the other end, you get a cool
sound, but it doesn't wake up the troops, and
consequently you, as 'experimental' trumpeter get
your ass pegged to a wall by one of those sneaky
Persians javelins. It is the social system that
determines the acceptablilty of use. I would
even venture to make the observation that the
current 'hipness' of Open Source in cultural
circles is a development not completely free of
larger political influence and even genesis
(something that I discovered when researching the
2-decade-old CIA-drenched history of Open Source,
for example!).
Is an individual's creative potential limited by
the tool? I would say NO, but the eventual
formal characteristics of the outcoming
expression IS defined by the limits of the tool.
It is *merely* the process of forming the
internal expressive energy into the limits and
push that energy through the formative grind, so
that something comes out the other end -- and
inspires the audience ...
This is in no way to dis-value your charismatic &
creative work, but it does that growing legacy a
dis-service...
(oil on fire? or pissing in the wind?)
jh
--
-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
tech-no-mad::hypnostatic:: in Reykjavík, Iceland in darkness
domain: http://neoscenes.net
travelog: http://neoscenes.net/travelog/weblog.php
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Subject: RE: [microsound] usefulness of compressors/mastering in experimental
music
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FILETIME=[BEC32060:01C4C80F]
>Can anyone point me at any documents that discuss mastering & compression
>with a less pop-centric perspective?
The CEC published an article by Dominique Bassal, on mastering in the
context of electroacoustic music- find it here: cec.concordia.ca/econtact/
(follow the link to edition 6.3, 'Issues in Electroacoustics'). The original
is in French, but there is a translation available.
A quick summary of some of the important points-
-mastering involves frequency and dynamic sculpting, for which eqs and
compressors/expanders are the tools 'par excellence';
-over-compression has seriously degraded the sound quality of most
commercial pop music recordings, but some degree of compression can still be
appropriate for experimental music, depending on circumstances;
-mastering may also involve, occasionally, spatial treatments to widen the
stereo image or create a sense of acoustic;
-it is very difficult to master your own work, especially in the studio
where it was produced- you'll probably end up exacerbating the frequency
problems in your mix, by overcompensating for monitoring deficiencies. I'll
post more on this later,
best,
Ian
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Subject: Re: [microsound] usefulness of compressors/mastering in experimental
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>I'd be careful about calling code art, regardless of the >sophistication involved. No doubt this will raise the ire of >programmers, but it doesn't exist for its own sake - it has other >uses, and aesthetic considerations are not primary. That alone makes >it 'not art.' Code programmers are closer to artisans than artists, >I'd say.
I think this is dead on, and I personally agree with most of what Matt has to say here. I would just like to add a few analogies. Thinking that computer musicians need to know the underlying code of their software and to write their own is like thinking that good guitar players need to know how to build guitars, and not only that, but in fact to only play ones they build themselves. I'm sure most guitar players know enough about their instruments to do repairs and such, but probably couldn't build a guitar to save their life. And I'm sure there are a lot of computer musicians that are analogously crafty with software (i.e. in that somewhere in between place that Matt mentioned). One wouldn't expect the guitar thing to be any other way. In that case there are guitar players and there are guitar craftspersons, and the two may never be the same. The same goes for computers, there are computer programmers and their are computer artists, and the two do not have to be the same. However, an analogy that I think is more directly to the point is relating this to writers. Saying that computer musicians need to know the code of the software they use to be good artists would be like saying writers need to know the code to their word processors to do good writing. I think these analogies show that the requirement of coding skills for good sound art is a bit misplaced.
What I basically think Derek's argument comes down to is that knowing how to code is going to give someone access to a level of versatility that they would not have at their disposal always using software that other people make for them. At this point I think that's right, and is a good argument for computer musicians to learn a bit of code to expand their palette so to speak, if the artist feels like they need to. However, Derek seems to go from there and make such versatility a requirement for good computer based sound art, which I think goes too far and would agree with Matt that often limitations are a tool for the artist as much as their chosen medium or media. But there is so much that can be done with software that's already made that it hardly seems like this limitation tool would even come up. To require the computer musician to have all of the possible software building techniques under mastery would be like requiring painters to use all of the colors that exist and use all of the techniques of painting for them to be good painters. Sorry for the folks that don't like analogies, that's how I tend to think on these issues.
Greg
http://spagirus.ivdt.net
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From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
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>requiring painters to use all of the colors that exist and use all of the
>techniques of painting >for them to be good painters.
-The ones that are good know what colours to use, and not be bothered by
the rest of them...
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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Gregory Elliott <xxxxxxxx@xxxxxxxxxx.xxx> writes:
> >I'd be careful about calling code art, regardless of the
> >sophistication involved. No doubt this will raise the ire of
> >programmers, but it doesn't exist for its own sake - it has other
> >uses, and aesthetic considerations are not primary. That alone makes
> >it 'not art.' Code programmers are closer to artisans than artists,
> >I'd say.
> I think this is dead on, and I personally agree with most
> of what Matt has to say here. I would just like to add a few
> analogies. Thinking that computer musicians need to know the
> underlying code of their software and to write their own is like
> thinking that good guitar players need to know how to build guitars,
> and not only that, but in fact to only play ones they build
> themselves.
I guess I'm just nitpicking here, but I think you are exaggerating.
The issue was not that an electronic musician should build a computer
but understand the way a computer (and the software) works. I
definitely think that an instrumentalist should know exactly how
his/her instrument works. In fact, those who are best at playing
their instruments surely understand them very well. Those composers
who understand some instruments very well eventually write music that
sounds very well on those instruments (i.e. Leo Brouwer for guitar,
Penderecki for strings, Varese for brass and percussion, to name a few
examples).
If a guitarist understands the physics of a vibrating string and the
resulting resonance of the instrument's body and he becomes aware of
certain physical and acoustic phenomena which are at play when
performing in such and such a space he will surely be much more
accurate and gain more control over music. Whether someone else
notices it, is a different story. A lot of such knowledge is, and can
be, gained intuitively but having a little in-depth knowledge is
certainly a plus.
> I'm sure most guitar players know enough about their
> instruments to do repairs and such, but probably couldn't build a
> guitar to save their life.
Because building an instrument involves much more than knowing how to
play it, even if you understand very well how it all works. Not every
guitarist is a skilled woodwork craftsman with an impeccable knowledge
of various types of woods and proper preparation of them.
However, many guitarists know how to manipulate the sound of the
instrument (especially if they play electric guitars) to convey what
they want musically, or simply to impress those who know less :)
> The same goes for computers, there are computer programmers
> and their are computer artists, and the two do not have to be the
> same. However, an analogy that I think is more directly to the point
> is relating this to writers. Saying that computer musicians need to
> know the code of the software they use to be good artists would be
> like saying writers need to know the code to their word processors to
> do good writing.
I don't think this was the point. I think the point was about being
able construct such or such effect or process by yourself without
relying on a plugin. It boils down to some rudimentary understanding
how things work.
> I think these analogies show that the requirement of
> coding skills for good sound art is a bit misplaced. What I basically
> think Derek's argument comes down to is that knowing how to code is
> going to give someone access to a level of versatility that they would
> not have at their disposal always using software that other people
> make for them.
Things like PD or ams or even csound use a much higher level of
abstraction than coding your own from scratch. I think a computer
musician should have some basic understanding of synthesis techniques
and various methods of sound manipulation. those who used modular
analog synths have obviously advantage. But patching your own synth
or effect in a high-level language such as pd is very rewarding.
> At this point I think that's right, and is a good
> argument for computer musicians to learn a bit of code to expand their
> palette so to speak, if the artist feels like they need to.
Well, this is in fact a good thing to gain a better understanding of
the computer, overall.
> To require the computer
> musician to have all of the possible software building techniques
> under mastery would be like requiring painters to use all of the
> colors that exist and use all of the techniques of painting for them
> to be good painters.
Actually, I would refine this analogy to this: to require a computer
musician to be aware of how to obtain various synthesis techniques and
DSP processes is like requiring a painter to know how to obtain
desired colors through mixing basic colors and knowing what results
are to be expected from various techniques.
../MiS
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From: Mika Martini <xxxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music
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yes. i agree. I also think that the truth is seen of the loudspeakers for outside.
Saludos, Mika Martini
Gregory Elliott <xxxxxxxx@xxxxxxxxxx.xxx> wrote:
>I'd be careful about calling code art, regardless of the >sophistication involved. No doubt this will raise the ire of >programmers, but it doesn't exist for its own sake - it has other >uses, and aesthetic considerations are not primary. That alone makes >it 'not art.' Code programmers are closer to artisans than artists, >I'd say.
I think this is dead on, and I personally agree with most of what Matt has to say here. I would just like to add a few analogies. Thinking that computer musicians need to know the underlying code of their software and to write their own is like thinking that good guitar players need to know how to build guitars, and not only that, but in fact to only play ones they build themselves. I'm sure most guitar players know enough about their instruments to do repairs and such, but probably couldn't build a guitar to save their life. And I'm sure there are a lot of computer musicians that are analogously crafty with software (i.e. in that somewhere in between place that Matt mentioned). One wouldn't expect the guitar thing to be any other way. In that case there are guitar players and there are guitar craftspersons, and the two may never be the same. The same goes for computers, there are computer programmers and their are computer artists, and the two do not have to be the same. However, an
analogy that I think is more directly to the point is relating this to writers. Saying that computer musicians need to know the code of the software they use to be good artists would be like saying writers need to know the code to their word processors to do good writing. I think these analogies show that the requirement of coding skills for good sound art is a bit misplaced.
What I basically think Derek's argument comes down to is that knowing how to code is going to give someone access to a level of versatility that they would not have at their disposal always using software that other people make for them. At this point I think that's right, and is a good argument for computer musicians to learn a bit of code to expand their palette so to speak, if the artist feels like they need to. However, Derek seems to go from there and make such versatility a requirement for good computer based sound art, which I think goes too far and would agree with Matt that often limitations are a tool for the artist as much as their chosen medium or media. But there is so much that can be done with software that's already made that it hardly seems like this limitation tool would even come up. To require the computer musician to have all of the possible software building techniques under mastery would be like requiring painters to use all of the colors that exist and use all
of the techniques of painting for them to be good painters. Sorry for the folks that don't like analogies, that's how I tend to think on these issues.
Greg
http://spagirus.ivdt.net
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Date: Thu, 11 Nov 2004 14:50:31 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music/glitch
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>
> I will say this, though: Avril Lavigne is without a doubt the Only True
> Punk Rocker Left. Absolutely no question.
i really really really hope that was a joke.
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Date: Thu, 11 Nov 2004 22:15:03 +0000
From: greg g <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] Merzbox as Counter-terrorism deterrent
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FILETIME=[0C2C9DA0:01C4C83C]
WHOA I WANT TO BECOME A TERRORIST!!!!
>From: Sutorus David A MSgt 752 AMXS/MXAA <xxxxx.xxxxxxx@xxxxx.xx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: "'xxxxxxxxxx@xxxxxxxxx.xxx'" <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: [microsound] Merzbox as Counter-terrorism deterrent
>Date: Wed, 10 Nov 2004 15:15:21 -0800
>
>
>
>-----Original Message-----
>From: Sutorus David A MSgt 752 AMXS/MXAA
>Sent: Wednesday, November 10, 2004 1:14 PM
>To: 'microsound'
>Subject: [microsound] Merzbox as Counter-terrorism deterrent
>
>
>As a member of the military community, I have suggested a much more
>effective plan to the higher echelon of the Psyops community...
>
>I feel that using the MERZBOX at high volume as a counter-terrorism weapon
>would be a much more efficient weapon while at the same time it would add a
>valuable album to my collection since I am contracting myself out to buy my
>own copy and get the military a volume discount on this and other Merzbow
>releases as well. >;-)~
>
>============================================================================
> > At a mosque, a cleric called on militants to fight back.
> >
> > "God is greatest, O martyrs!" he called out through loudspeakers. "Rise
> > up, mujahedin!"
>
>Pretty understandble seeing as they have been invaded by a bunch of idiots
>playing heavy metal
>
> >
> >
> > G.
> >
> >
> >
> > john saylor wrote:
> > > hi
> > >
> > > NY times:
> > >
> > >>>"The mosques in the city broadcast calls to jihad through their
>speakers"
> > >>
> > >
> > > ( 04.11.09 07:38 -0800 ) xxxx@xxxxxxxxx.xxx:
> > >
> > >>false information....what they heard was the adhan...the call to
> > >>prayer...not jihad...
> > >
> > >
> > > yet another example of the distortions that permeate the us media. a
>call to
> > > prayer is 'reported' as a call to war.
> > >
> > > who are the terrorists here?
>
>
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From: Kassen <xxxxxx@xxxxxx.xxxx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in
experimentalmusic
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Michal Seta writes;
> I
> definitely think that an instrumentalist should know exactly how
> his/her instrument works. In fact, those who are best at playing
> their instruments surely understand them very well. Those composers
> who understand some instruments very well eventually write music that
> sounds very well on those instruments (i.e. Leo Brouwer for guitar,
> Penderecki for strings, Varese for brass and percussion, to name a few
> examples).
I mostly agree with you but does this reasoning not imply that jumps in
artistic expression should be preceived after scientiffic discoveries in
acoustics? I would expect that this, if true in a broad, cultural, sense for
example Pythagoras´s research into the physics of strings would have caused
a jump in ability of instrumentalists of that time.
Sadly I never heard what artists playing stringed instruments sounded like
in his day but I´m not sure performances then would have been far worse then
those of today. Surely today´s instruments must sound better but I´m not
sure that´s relevant to this.
Just some thoughts.
Kas.
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From: Michal Seta <xxx@xxxxxxxxx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in
experimentalmusic
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"Kassen" <xxxxxx@xxxxxx.xxxx.xx> writes:
> I mostly agree with you but does this reasoning not imply that jumps in
> artistic expression should be preceived after scientiffic discoveries in
> acoustics?
Perhaps not jumps but I would go as far as saying that yes,
discoveries in acoustics influence musical peformance. However,
performers are only a vehicle. The most work is done by performance
space designers/engineers and instrument builders. The performers
then can take advantage of the development and improvement of the
instrument and the space. But they do need to be aware of the
developments and improvements in order to take advantage of it. And
of course, one should not forget the composers who take advantage of
new developments. some even influence them.
> I would expect that this, if true in a broad, cultural, sense for
> example Pythagoras´s research into the physics of strings would have caused
> a jump in ability of instrumentalists of that time.
I don't know about the ability of instrumentalists but note that
following his discoveries music became part of the quadrivium. So the
science has certainly had some influence on music. And of course
Pythagoras' scientific discoveries influenced the developments in
musical thought.
../MiS
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From: taylor deupree <xxxxxx@xxx.xxx>
Subject: [microsound] Re: microsound Digest 11 Nov 2004 22:16:14 -0000 Issue
1292
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i have bob katz' book.. and was excited to read it... but after i
finished i came out feeling he was a total pompous ass and he
basically made the point that if you don't have total highest end of
everything in your studio then your setup was shit.
the book is NOT written for a newcomer to learn, it's written to
massage the egos of mastering engineers.
however, i DID come out with one new practice.. which is that i
switched all of my recording to 24 bit.. and will probably go to
96khz soon...
i don't NOT recommend the book.. i just think it's written from a
very pompous angle.. so read with that in mind...
>
>I would strongly recommend Bob Katz' "Mastering Audio: The Art and the
>Science" -- it's a thorough discussion of pretty much every consideration
>in mastering, peppered with useful anecdotes. I consider it a top-shelf
>reference... even though I only ever work in "experimental" veins...
>
http://www.amazon.com/exec/obidos/tg/detail/-/0240805453
--
.. . . . . . . . . . . . . .
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From: taylor deupree <xxxxxx@xxx.xxx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music
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thanks for posting this link!! i'm really excited to read this
document... i think mastering and recording techniques are something
everyone needs to pay attention to, especially in our field of music
where most people mix "in the box"...
i think this thread should be continued and hopefully see people
sharing some mastering ideas/trips/tricks.. i'd be happy to share
some of my own.
>
>The CEC published an article by Dominique Bassal, on mastering in the
>context of electroacoustic music- find it here: cec.concordia.ca/econtact/
>(follow the link to edition 6.3, 'Issues in Electroacoustics'). The original
>is in French, but there is a translation available.
>
>A quick summary of some of the important points-
>
>-mastering involves frequency and dynamic sculpting, for which eqs and
>compressors/expanders are the tools 'par excellence';
>-over-compression has seriously degraded the sound quality of most
>commercial pop music recordings, but some degree of compression can still be
>appropriate for experimental music, depending on circumstances;
>-mastering may also involve, occasionally, spatial treatments to widen the
>stereo image or create a sense of acoustic;
>-it is very difficult to master your own work, especially in the studio
>where it was produced- you'll probably end up exacerbating the frequency
>problems in your mix, by overcompensating for monitoring deficiencies. I'll
>post more on this later,
--
.. . . . . . . . . . . . . .
12k | LINE | HAPPY
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NOW:
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CD: January [Spekk, Japan]
CD: participant on Bip Hop Generation v.7 [Bip-Hop, France]
BOOK: design works in "CD-Art" book [ Rotovision, UK ]
SOUND EXHIBITION: "snow/sand" (from Stil.) @ Ecoute | Centre Pomidou
| Paris, France | 22 Sept, 2004 - 17 Jan, 2005
PHOTOGRAPHY: architecture series | coriolislab.org | sept, 2004
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Date: Thu, 11 Nov 2004 17:53:37 -0800 (PST)
From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: Re: [microsound] Re: microsound Digest 11 Nov 2004 22:16:14 -0000
Issue 1292
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> i have bob katz' book.. and was excited to read it... but after i
>
> the book is NOT written for a newcomer to learn, it's written to
> massage the egos of mastering engineers.
YMMV, subtract the ego and correct for the emphasis on "commercial"
music and I think it's a great overview for people who don't know what
mastering is and why you should think about it.
I found it like reading interviews with Walter Sear: take what you can, if
you don't like the personality, at least those guys have impeccable
records to back up what they're saying. Record in both senses.
They're engineers and curmudgeons. I happen to like both -- on paper
anyway. (But then I like Paul Theroux too.)
aaron
xxxxx@xxxx.xxx
http://www.quietamerican.org
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From: earphone <xxx@xxxxxxxx.xxx>
Subject: [microsound] new works @ earphone.org
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greetings,
the online only release in mp3 format of: earphone - neurontin, is now
available @
http://www.earphone.org
cheers
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on 11/11/04 8:30 PM, taylor deupree at xxxxxx@xxx.xxx wrote:
> thanks for posting this link!! i'm really excited to read this
> document... i think mastering and recording techniques are something
> everyone needs to pay attention to, especially in our field of music
> where most people mix "in the box"...
>
> i think this thread should be continued and hopefully see people
> sharing some mastering ideas/trips/tricks.. i'd be happy to share
> some of my own.
>
>
>
>
ive got a tip...buy the best monitoring gear you can...if you like to color
your sound, thats fine...but your monitoring gear has to be flat...ofcourse
there are exceptions but this tends to work best.
my uses of compressors
1. shaping dynamics of sources..as in a ADSR on a synth..do i want a sound
shorter, maybe a bit longer??, maybe i want it to attack slower.
2. colour, sometimes to add subtle distortion.
3. crushing or pumping
4. blending of sources
5. spatial definition
6. side-chaining
7. tuna in can compression.
8. presence/punch
lately though ive found that multi-band compressors are just so much more
versatile then single-band ones, you can really fine-tune sounds. Few think
that its purpose lies in mastering or on complex material such as a two
track, but try a multi-band one on a single sound...
anyhow compressors are really great tools that arent just used to crush
grapes as many think, and using different ones in serial can bring even more
interesting results, but i agree that it takes a while to grasp. That sort
of explains why so much music out there is overcompressed. i couldn't hear
anything for a few years at first, well not anything, only killer
compression. :)
PS one thing that is crucial to understanding compression is that it is a
multiplicative process, not additive... meaning if you compress something
now to 5:1 and later the mastering plant does a 10:1 well you do the math...
:)
m.
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Subject: RE: [microsound] usefulness of compressors/mastering in experimental
music
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FILETIME=[44106990:01C4C87D]
I wrote:
>-it is very difficult to master your own work, especially in the studio
>where it was produced- you'll probably end up exacerbating the frequency
>problems in your mix, by overcompensating for monitoring deficiencies. I'll
>post more on this later,
Most composers have some more or less severe monitoring deficiencies in
their studio, in part because of their loudspeakers, and in part because of
their placement and room acoustics. If, say, your speakers reproduce 3 kHz
much louder than flat monitoring, you probably systematically eq that
frequency down in your mix, so it sounds good in your studio. If you master
on the same monitoring, you're certainly not going to bring the 3 kHz back
to a good level, and you may even make things worse. A good mastering
engineer, listening on high-end flat monitoring, will hear something missing
at 3 kHz and correct it. Mastered, the work will sound better on all systems
except those which reproduce 3 kHz much louder than normal (but then, anyone
who owns such a system will hear that problem on anything they play, and
won't blame the work in question). This leads to the mastering paradox- in
the composer's own studio, a mastered work will probably sound worse than
unmastered! But on virtually every other system, the work will sound closer
to how the composer heard it in his or her own studio.
There are still other benefits of mastering- in a good mastering studio, you
can actually hear the ultrahighs and superlows properly, and these can be
sculpted for maximum impact. Dominique argues in his article that sonic
experimenters could take great advantage of mastering to reinforce truly
experimental approaches to frequency design and sound design more generally,
as the mastering engineer's training, equipment, and monitoring give him or
her ideal tools for such work.
If, of course, sound quality is not important to a producer on conceptual
grounds, then mastering probably isn't for them.
best,
Ian
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Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music
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Lately I've been mixing a number of sources via a mixing desk to a stereo
compressor/limiter using a really heavy compression ratio. Mixing becomes
completely different from normal (additive) mixing. It becomes non-additive.
As one channel is faded in the others begin to decrease. The slight movement
of one fader has an effect on all the other channels. Add multiple effects
loops and feedback loops to the mix and the mixing becomes like shaping the
sound directly with your hands.
99% of the time, however, I use a hardware compressor when digitising
analogue sound. Here a good peak limiter is important so you can record a
higher level (without clipping) by eliminating excessive transients.
Kassenwrote:
> So far all comments have been on mastering and not on the creative use of
> compression. I found that compressors, particualarly those equiped with side
> chains are extremely usefull in making corrections to volume envelopes of
> synthetic, algorithmic, sounds where normal envelopes are not involved in
> how the sound is generated, particularly for realtime aplications. I fear
> this is a underapreceated aspect of compression but it´s a very valid one.
> Some of the techniques I use include delaying the side chain by some
> relatively short amount of time, heavy eq on the side chain of sounds that
> change pitch or harmonic content over their duration and mixing elements
> into the sidechain that do not apear anywhere else. In modular synthesis I
> think it´s very usefull to keep the (or a) compressor inside of the patch
> itself instead of "over" it.
>
> If there are good articles on these techniques I´m unaware of them. My chief
> recomendation would be to think of compressors in terms of what they do and
> what they can be used for instead of how they are most often used. A very
> interesting exersise is building your own in some software language or
> system so you can take controll of parameters normally not accessible or
> included.
>
> Applogies if this sounded trivial, it´s meant to encourage, not to be the
> final word.
>
> As a side note; the compressor module of the original Nord Modular has a bug
> where it can "click" or "pop" the moment the limiter is turned on or off. If
> you keep your signal floating around this tresshold rather pleasant lowfi
> effects can be created. That does not answer any question here but I
> couldn´t bring myself to neglect mentioning it, seeing as this list is suppo
> sed to be about post-digital aesthetics and techniques.
>
> Yours,
> Kas.
>
>
>
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From: Kassen <xxxxxx@xxxxxx.xxxx.xx>
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precursor;
> ive got a tip...buy the best monitoring gear you can...if you like to
color
> your sound, thats fine...but your monitoring gear has to be
flat...ofcourse
> there are exceptions but this tends to work best.
Certainly, but practically speaking you are going to end up with a coloured
situation. I´m not sure how many people on this list can afford to have a
room restructured for optimal acoustics but I can guess...
What I think is very important is being used to your monitoring situation
and how it sounds with various types of material. Some people get very good
results from mixing on systems that are far from linear and in my experience
they are invariable the people that listen to most of their music on that
system. Whenever I´m working in some studio I don´t know I like to bring a
cd of purely acoustic music with a very neutral mix that I know well.
Playing this gives some indication of the strong and weak points of the
system in a short time. Some people don´t ever use their monitoring setup
for anything else then making their own music, removing the frame of
reference they could have if they´d occasionally spend a afternoon listening
to some Chopin, some metal and for all I care some jazz on their monitors.
I´m certainly not claiming this practice would be a substitute for getting a
neutral, linear system but it´s at least complimentary and within reach of
everybody regardless of your finantial situation and the architecture you
might be stuck with.
Also; if your music is supposed to be playable on pa´s try to hyjack a pa
before some club opens and listen to it, noting any trouble you might hear.
You can make this a part of your own soundcheck for some gig or go along
with somebody else´s. In my experience nobody will mind as long as this
soundcheck doesn´t take much longer then the average one and it´s well worth
it.
While I´m at it; it´s a very interesting experience to be present at the
cutting of the master of your vinyl release. Cutting vinyl is a whole craft
by itself and if all is well you should be able to poke the local engineer´s
brain for tips, hopefully ones especially relevant to your own material.
Happy mixing!
Kas.
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interesting to read this as I had some of the same thoughts in response to the comments on programming versus utilizing available software in composition/performance. But, if you're going to use analogies (I tend to think that way too), another interesting thing to look at is Arnold Dreyblatt's notes on his early work which involved intense investigations of acoustics and sound productions utilizing the techniques of early instrument builders. He makes a lot of really interesting points about how musicians have lost the knowledge preserved by instrument builders (the craftsmen referred to elsewhere) and the effects this has had on the practices of composition and performance. I like Arnold Dreyblatt's music, but I have to say that his generous revelations about the evolution of his thought and practice have had more effect on my own thought and practice than hearing that music could ever have had. I highly recommend checking his writings out on his website. The application of min
imalist (Tony Conrad, Charlemagne Palestine, Pauline Oliveros, Henry Flynt {another generous note-taker}) and post-minimalist (Dreyblatt, Rhys Chatham {his writings are also intriguing and thought-provoking}, Phil Niblock) techniques and approaches to issues like tuning to computer music has yielded some very interesting results for me in the beginning stages of working with computers to make music. I think an interesting question to pose within this thread is "Which is more important, and intimate knowledge and understanding of the code used to produce sound, or an intimate knowledge and understanding of sound itself (in terms of acoustics and human perception)?" Would one have to have a PHD in psychoacoustics and computer science to produce worthy tracks? Can one be a snob and a slob at the same time? Take a look around your brain and your bedroom before you answer that one. Love, MHW
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yes. i agree. I also think that the truth is seen of the loudspeakers for outside.
Saludos, Mika Martini
Gregory Elliott <xxxxxxxx@xxxxxxxxxx.xxx> wrote:
>I'd be careful about calling code art, regardless of the >sophistication involved. No doubt this will raise the ire of >programmers, but it doesn't exist for its own sake - it has other >uses, and aesthetic considerations are not primary. That alone makes >it 'not art.' Code programmers are closer to artisans than artists, >I'd say.
I think this is dead on, and I personally agree with most of what Matt has to say here. I would just like to add a few analogies. Thinking that computer musicians need to know the underlying code of their software and to write their own is like thinking that good guitar players need to know how to build guitars, and not only that, but in fact to only play ones they build themselves. I'm sure most guitar players know enough about their instruments to do repairs and such, but probably couldn't build a guitar to save their life. And I'm sure there are a lot of computer musicians that are analogously crafty with software (i.e. in that somewhere in between place that Matt mentioned). One wouldn't expect the guitar thing to be any other way. In that case there are guitar players and there are guitar craftspersons, and the two may never be the same. The same goes for computers, there are computer programmers and their are computer artists, and the two do not have to be the same. However, an
analogy that I think is more directly to the point is relating this to writers. Saying that computer musicians need to know the code of the software they use to be good artists would be like saying writers need to know the code to their word processors to do good writing. I think these analogies show that the requirement of coding skills for good sound art is a bit misplaced.
What I basically think Derek's argument comes down to is that knowing how to code is going to give someone access to a level of versatility that they would not have at their disposal always using software that other people make for them. At this point I think that's right, and is a good argument for computer musicians to learn a bit of code to expand their palette so to speak, if the artist feels like they need to. However, Derek seems to go from there and make such versatility a requirement for good computer based sound art, which I think goes too far and would agree with Matt that often limitations are a tool for the artist as much as their chosen medium or media. But there is so much that can be done with software that's already made that it hardly seems like this limitation tool would even come up. To require the computer musician to have all of the possible software building techniques under mastery would be like requiring painters to use all of the colors that exist and use all
of the techniques of painting for them to be good painters. Sorry for the folks that don't like analogies, that's how I tend to think on these issues.
Greg
http://spagirus.ivdt.net
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thank you jh. it would seem that this beautiful argument could connect the thread about mastering to the one about programming. Assumptions define polemics while choices define art. Wouldn't it be great to hear a feminist critique of the term "mastering" in this context....
> >In "Derek's academy for computer musicians",
> >this exercise would be mandatory ;-) Not only
> >for compressors, but for all those different
> >kinds of effects where people just download a
> >VST and happily twiddle the knobs without
> >knowing anything about what happens under the
> >GUI.
>
> why not chip design? data storage architecture?
> code/language creation (not merely utilizing
> previous codes)? making an iIl-Logic-based
> digital architecture? (a thousand pardons to the
> illogik crew in Stockholm now
> http://www.illogik.com )
>
> >A while back, someone was aksing if it made
> >sense to make your own granulator [for example]
> >in PD even where there were "ready made"
> >granulators and other effects easily available.
> >For me, there is so much more potential in
> >knowing how something works because you've built
> >it from the bottom up. Software, and the
> >especially the visual metaphors of software
> >[take a look at Reason, for example, or Flash],
> >are so strongly deterministic in making art, and
> >there is always some parameter, effect or trick
> >which you will want but the person who made your
> >program for you never thought of.
> >
> >So this is my rationale for telling everyone to
> >learn some kind of rudimentary programming, even
> >if just through PD or MAX. In my mind, it's the
> >difference between a software user and a
> >computer artist.
>
> Yeah, Derek, rants move your intelligence into
> dogmatic spaces that don't compliment it... What
> about a more principled look at this issue? For
> example, why the apparent divide between software
> and hardware? For each machine, Open
> source-driven or not, is constructed with
> hardware -- the most critical to its formative
> architecture being the processor which RIGIDLY
> defines what can happen with that tool, and is
> most often constructed from a deeper (corporate)
> legacy that is eventually traceable to the
> post-WWII military-industrial buildup that arose
> in the belly of Amurika. Each and every machine
> and code is deeply rooted in this legacy of
> controlling the world (to ensure survival of the
> owner of the machine). That legacy is traced out
> in subtle and obvious ways, and it is only a
> matter of local and limited perception that say
> it's better to use one or the other. Wide-spread
> control and the ensuing restrictions on creative
> expression, as defined by the hard and soft
> architectures of technology are pervasive
> features of the landscape we inhabit. Code, as
> one particular construct of language, deeply
> conforms to the necessities of the social system
> it is embedded in. And, as code arose deep in
> the culture of aggression it certainly carries
> paradigms that dis-allow creative expression in
> one form or another.
>
> Rather than drawing what seem to me -- based
> partly on the above observations to be arbitrary
> differences -- exclusionary lines (in what is
> really amorphous silica, sand), isn't there a way
> to draw the principles that are inclusive? For
> example: Each instrument has a set of
> limitations 'by nature' and by social construct
> that determine use. 'Natural' limitations
> control the situation -- might be something like
> blowing into the 'right' end of a horn -- but
> even that is largely a socially coded value --
> why not blow into the other end, you get a cool
> sound, but it doesn't wake up the troops, and
> consequently you, as 'experimental' trumpeter get
> your ass pegged to a wall by one of those sneaky
> Persians javelins. It is the social system that
> determines the acceptablilty of use. I would
> even venture to make the observation that the
> current 'hipness' of Open Source in cultural
> circles is a development not completely free of
> larger political influence and even genesis
> (something that I discovered when researching the
> 2-decade-old CIA-drenched history of Open Source,
> for example!).
>
> Is an individual's creative potential limited by
> the tool? I would say NO, but the eventual
> formal characteristics of the outcoming
> expression IS defined by the limits of the tool.
> It is *merely* the process of forming the
> internal expressive energy into the limits and
> push that energy through the formative grind, so
> that something comes out the other end -- and
> inspires the audience ...
>
> This is in no way to dis-value your charismatic &
> creative work, but it does that growing legacy a
> dis-service...
>
> (oil on fire? or pissing in the wind?)
>
> jh
> --
> -~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> tech-no-mad::hypnostatic:: in Reykjavík, Iceland in darkness
> domain: http://neoscenes.net
> travelog: http://neoscenes.net/travelog/weblog.php
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how intriquing that we all keep using classical/modernist analogies to attempt to understand or define something that is supposedly so far removed from that realm (time and place).
> Alex Young wrote:
>
> > I've been looking at a lot of software art recently, and I find it sad
> > that people don't distribute their code more often.
>
> I'm in complete agreement. Once you start to consider the artistry in
> creating and manipulating code, it seems ridiculous that people would
> want to hide that. Seems like people should be proud to show how they
> made something. I usually hate painting metaphors, but it's a bit like
> seeing the brush-strokes.
>
> More on topic, however--if each video or sound is an instance or example
> of that code at work, then the code itself is really the "composition",
> and should be accessible as such. Now, I can read music about as well as
> I can read C++ [in fits and starts ;-) ], but if you restricted people's
> ability to appreciate Bach to a recital, and kept the scores hidden away
> from public sight, Classical music as we know it simply wouldn't exist.
>
>
> > There's even less people using open standards such as SVG to create
> > art, rather than Flash/Shockwave.
>
> There is a lot of danger in creating something that only plays with one
> piece of software, and which requires an end-user license agreement from
> each viewer. I.e. it is not legal to distribute a copy of Shockwave
> player with your Shockwave file--each person has to go to Macromedia and
> get their own player and click on their own license agreement. This is
> exactly one point that the GPL is supposed to get around!
>
> Besides that, think about all those early RealPlayer codecs that are now
> unsupported! No one else can legally make a player for them [the codec
> is closed + proprietary], so you are talking about almost two years of
> content encoded for Real which cannot be viewed or heard *ever* again
> [legally, at least]. Or old video game ROMS, etc.
>
> Adam Hyde/radioqualia has written a nice rant about this in his open
> streaming manual:
>
> http://www.radioqualia.net/streaming_manual
>
> > By the way, what conference was it?
>
> PIKSEL, at BEK in Bergen, Norway:
>
> http://www.piksel.no/piksel04/index_html
>
> ciao,
> d.
>
> --
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 53:
> "Do something boring"
>
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Subject: [microsound] privatelektro autumn news 11:04
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Autumn : special : privatelektro news
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
* NEW MP3 RELEASE OUT NOW!
** live dates
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
* NEW MP3 RELEASE OUT NOW
[pnet02] Vano I Mk.2 - Rockers Unique E.P.
As if the 2nd half of the 90ies never happened, VANO I MK.2 release this stunning 40-minute 2-track e.p. with the musical style that was called TRANCE originally (before that shitty 4 to the floor-club-thing stole the term). A long, pulsating orb-esque journey through deep bass, warm glowing pads and transcending delays.
-> get this exciting new privatelektro release (hi-quality sound: 256 kbit/s) here:
http://www.privatelektro.de/net_dept.html
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
** dates
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
privatelektro & minimatika present:
joint venture 2:
Berlin 14th november, zentrale randlage, schönhauser allee 172: Germany
electronic meets impro meets accustic meets concept meets movies..
live: miwon (city center offices) berlin - electronic
live: MoArko (wventent) Hamburg - free jazz noise orchester
live: a. hensel - leipzig - lausanne - blockfloete with electronics
live: ben green - berlin - australien - prepared turntables
dj: triPhaze (privatelektro) - leipzig - wheels of steel and data juggler
short movies ** short movies ** short movies:
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Liverpool: 14th november 2004 :
hive @ Bracket This
Live electronic experimentalism from
Igor Hax (privatelektro), Tom Q, Corporate Athlete.
DJs: alextronic and strcprstskrskrk
Time: 7pm - 11pm
Venue: Arena Gallery, 82-84 Duke Street, Liverpool L1
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
privatelektro´s friends:
alulaton rec. present:
13 / 11 / 2004 ** 5 pm ! ** superkronik
markranstädter strasse 04, leipzig, germany
micha hirt [berlin] * "nullen und einsen" * animation-movie
live: sinebag [leipzig] * elektroacoustic sounds
live: jaap versainc ensemble [leipzig/berlin] * reduced polythytmik
live: orange dot [leipzig] * melancholic drone
+ special record sale!
greetz out to the taktile sound resistance..
marek/bernhard/christian.
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
join the messageboard:
http://privatelektro-news.de
contact us:
xxxx@xxxxxxxxxxxxx.xx
booking:
xxxxxxx@xxxxxxxxxxxxx.xx
privatelektro products are available at:
http://www.dust-dbugger.de/
http://www.dronerecords.de/
http://www.minorlabel.de/mailorder/index.htm
.................................................................................................................
:::::::::::::::::::::::::::::cd compilation: pe_cd 06::: out ::NOW:::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
.............. a monumental struggle of good vs. evil ................................
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::: http://www.privatelektro.de ::::::::::::::::::::::::::::::::::::::::::
..................................................................................................................
::::::::::::::::::::::::::::::::together:::::we::::are:::::strong!:::::::::::::::::::::::::::::::::
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Date: Fri, 12 Nov 2004 14:54:16 +0100
From: Elke Moltrecht <xxxxx@xxxxxxx.xx>
Subject: [microsound] Urban + Aboriginal XVI: Korea - 12.-21. November 2004
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URBAN + ABORIGINAL XVI
Alte und neue Musik aus Korea
Auftakt zum Korea-Jahr 2005
12. - 21. November 2004 im Podewil
Gastspiele in Utrecht, Amsterdam, Hamburg, Frankfurt und Leipzig
Eine Veranstaltungsreihe von Freunde Guter Musik Berlin e.V.
in Zusammenarbeit mit der Berliner Kulturveranstaltungs-GmbH / Podewil
mehr Informationen unter/more informations (deutsch und english/german and
english): www.podewil.de / www.freunde-guter-musik-berlin.de
Seit dem Horizonte-Festival 1985 war koreanische Musik nicht mehr in einem
größeren Umfang in Berlin zu hören. URBAN + ABORIGINAL XVI präsentiert alte und
neue Musik aus Korea in einer umfangreichen Veranstaltungsreihe. Konzerte mit
bedeutenden Werken der Musikgeschichte bieten Gelegenheit, das reiche Erbe an
Hof- und Gelehrtenmusik in authentischer Klanggestalt und bisher nicht gekannter
Vollständigkeit zu erleben. Darunter sind zum ersten Mal in Deutschland
komplette Aufführungen der klassischen Ensemblesuite Kajin Hoesang, des
aristokratisch-gelehrten Gesangszyklus Yeochang Gagok und des fünfstündigen
P'ansoris Simchong-ga (mündlich tradierter epischer Gesang zwischen Volkskunst
und Kunstmusik) vertreten.
In einem spannungsvollen Dialog dazu werden richtungsweisende zeitgenössische
Komponistinnen und Komponisten aus Südkorea vorgestellt, die das Schema
westlich-modern / östlich-traditionell eindrucksvoll überwunden haben, sowie
aktuelle Strömungen von Pop und Elektronik aus dem Seouler Underground,
improvisierte Musik und Performances, Folksongs und modernes P'ansori.
Zusätzlich ermöglicht eine Medienlounge mit Internet-Live-Streams von Pop- und
Traditionelle-Musik-Sendern sowie Videoclips und Computerkunst einen Einblick in
den musikalischen Alltag Koreas. In einem Roundtable-Gespräch mit den im
Festivalprogramm vertretenen Komponisten werden Hintergründe der ebenso
vielschichtigen wie widersprüchlichen Musikkultur Koreas vertieft.
URBAN + ABORIGINAL XVI setzt die langjährige Zusammenarbeit mit der Berliner
Kulturveranstaltungs-GmbH fort und ist im November mit dreizehn Konzerten erneut
zu Gast im Podewil. Eine Tournee führt außerdem fünf Ensembles, die in Berlin
auftreten werden, nach Utrecht, Amsterdam, Hamburg, Frankfurt und Leipzig. Das
Festival findet als Auftakt zum Korea-Jahr 2005 statt, im Rahmen dessen sich das
Land bundesweit in zahlreichen Veranstaltungen kultureller, politischer und
wirtschaftlicher Art präsentieren wird. Korea ist u.a. der Länderschwerpunkt der
Asien-Pazifik-Wochen 2005.
Unter der Schirmherrschaft von
S.E. Herrn Youngmin Kwon, Botschafter der Republik Korea,
und Herrn Klaus Wowereit, Regierender Bürgermeister von Berlin
Ermöglicht aus Mitteln des Hauptstadtkulturfonds
Samsung als Haupt-Sponsor
mit Unterstützung von
Ministry of Culture & Tourism, Republic of Korea
Ministry of Foreign Affairs and Trade, Republic of Korea
Government Information Agency, Republic of Korea
und
Berliner Kulturveranstaltungs-GmbH
Asiana Airlines
Ernst von Siemens Musikstiftung
DeutschlandRadio Berlin
Botschaft des Königreichs der Niederlande
präsentiert von zitty
Hinweis:
Korea-Jahr 2005
www.koreaheute.de
5. Asien-Pazifik-Wochen 2005
19. September - 2. Oktober 2005
www.APForum.com
PROGRAMMKALENDER BERLIN - PODEWIL
Freitag, 12.11.
18:00 Festival-Eröffnung
19:30 Kajin Hoesang - Kunstvolle Instrumentalmusik für Gelehrte und Philosophen
22:00 Kang Ho-jung Quartet - Von Pop bis Noise
Samstag, 13.11.
17:00 P'ansori Simchong-ga - Geschichtenerzählen durch Gesang
Dauer ca. 5 Stunden
Sonntag, 14.11.
19:30 Yeochang Gagok - Lyrische Kunst-Lieder für Frauengesang
Yi A-mi - Gesang
The Yeak Academy for Ancient Korean Music, Seoul
Dienstag, 16.11.
19:30 Sanjo-Lounges - Intime Musiken für Melodieinstrumente und Sanduhrtrommel
Dauer bis ca. 22:30 Uhr (siehe auch Samstag 20.11.)
Hinweis: Han Mal-suk - Autorenlesung
Am 17.11. 2004 um 18 Uhr veranstaltet die Presse- und Kulturabteilung der
koreanischen Botschaft (Lützowufer. 26) eine Lesung mit der Erfolgsautorin Han
Mal-suk.
Donnerstag, 18.11.
19:30 Porträt Hwang Byung-ki - Lebende Legende des Kayageum-Spiels
22:00 Park Chang-soo im Klub - Copy and Paste
Hinweis: Park Chang-soo im Kino Arsenal
Am 22.11.2004 um 21 Uhr findet im Kino Arsenal, Potsdamer Str. 2, eine
Stummfilmvorführung mit Live-Klavier-Improvisation von Park Chang-soo statt.
Eine Veranstaltung der Freunde der Deutschen Kinemathek e.V.
Freitag, 19.11.
19:30 Komponistenporträt: Neue Musik 1 - Modern Art Sextet, Berlin und Gäste
Kompositionen von Lee Yun-kyung, Lee Yun-seck, Park Yong-shil, Koo Bonu
und Han Mi-young
22:00 Modernes P´ansori und Folksongs - P'ansori re-designed
Samstag, 20.11.
15:00 Sanjo-Lounges - Intime Musiken für Melodieinstrumente und Sanduhrtrommel
Gasa, Daegum Sanjo, Haegum Sanjo, P'iri Sanjo, Komun'go Sanjo,
Kayageum Sanjo
Dauer bis ca.18.00 Uhr (siehe auch Dienstag 16.11.)
19:30 Improvisation und Klangperformances - Grenzgänge zwischen Klangaktion,
Improvisation und Installation
Sonntag, 21.11.
17:30 Roundtable-Gespräch mit Komponisten des Festivals
In Zusammenarbeit mit der Internationalen Isang Yun-Gesellschaft e.V.
Gesprächsleitung: Wolfgang Sparrer
19:30 Komponistenporträt: Neue Musik 2 - The Barton Workshop, Amsterdam
Kompositionen von Yi Manbang, Koo Bonu, Park Yong-shil, Na Hyo-shin
Han Ock-mi und Han Mi-young
22:00 Ausklang im Tanzprobensaal - Solos, Duos, Trios mit Mitgliedern der
The Yeak Academy for Ancient Korean Music, Seoul
MEDIENLOUNGE - Ein Fenster in den musikalischen Alltag Koreas
Geöffnet an den Vorstellungstagen ab 1 Stunde vor Beginn der ersten Vorstellung.
Veranstaltungsort: PODEWIL - Zentrum für aktuelle Künste
Klosterstr. 68-70, 10179 Berlin, Tel: +49(0)30-24749-6, Fax: +49(0)30-24749-700
e-Mail: xxxxx@xxxxxxx.xx, www.podewil.de
Karten:
Vorverkauf ab 25.10. 2004 im Podewil
Öffnungszeiten: Vorverkauf: Montag - Freitag 13 - 19 Uhr
Abendkasse: 1 Stunde vor Vorstellung
Kartentelefon: Tel: +49(0)30-24749-777, Fax: +49(0)30-24749-700,
xxxxxx@xxxxxxx.xx
Eintrittspreise:
Großer Saal, Sanjo Lounges EUR 13, ermäßigt EUR 10
Podewil Klub, Tanzprobensaal EUR 7, ermäßigt EUR 5
Tageskarte EUR 16, ermäßigt EUR 12
Festivalkarte EUR 50, ermäßigt EUR 38
Roundtable-Gespräch, Medien-Lounge - Eintritt frei
Veranstalter: Freunde Guter Musik Berlin e.V.
Erkelenzdamm 11-13 B IV, 10999 Berlin, Tel: +49(0)30-615 27 02, Fax: +49(0)30
614 86 95, e-Mail: xxxxxxx@xxxxx.xx, www.freunde-guter-musik-berlin.de
Festivalleitung: Vilém Wagner
Konzeption und künstlerische Leitung: Matthias R. Entreß und Daniel N. Seel
Direktion Korea: Yi Manbang
Koordination Korea: Lee Yunseck
Projektleitung Podewil: Elke Moltrecht
Programmteam: Matthias R. Entreß, Elke Moltrecht, Matthias Osterwold,
Daniel N. Seel, Vilém Wagner, Yi Manbang
Mitarbeit: Hongza Dörge / Koreanisches Musikmanagement, Llúcia Sánchez,
Ute Wassermann
Pressearbeit: Silke Wiethe, Gabriele Miketta
Technische Leitung: Max Stelzl
Programmänderungen vorbehalten (Stand: Oktober 2004)
Elke Moltrecht
Music Curator
Podewil
Klosterstr. 68-70
10179 Berlin
phone #49(0)30 24749 736
fax #49(0)30 24749 700
www.podewil.de
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From: Domonkos Nagy <xxxxxxx@xxxxx.xx.xx>
Subject: [microsound] music -> speech
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http://www.nature.com/news/2004/041108/full/041108-12.html
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Date: Fri, 12 Nov 2004 09:18:24 -0800 (PST)
From: { brad brace } <xxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] new works @ earphone.org
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nice work -- wish that it could be streamed... (downloading
files isn't as compelling as it once was. I remember being
curiously enthused seeing a dozen Rapster progress-bars all
twitching at once.)
/:b
On Thu, 11 Nov 2004, earphone wrote:
> the online only release in mp3 format of: earphone - neurontin, is now
> available @
> http://www.earphone.org
--- bbs: brad brace sound ---
--- http://63.170.215.11:8000 ---
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Date: Fri, 12 Nov 2004 11:10:48 -0800
From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
music
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> Wouldn't it be great to hear a feminist critique of the term
> "mastering" in this context....
i think it's be safe to say that it would not. :)
k:p
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Subject: [microsound] snaps and pops in reaktor?
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what causes them (as in the undesirable pops and snaps) and how can i
get rid of them? i doesn't look like it's a clipping issue... maybe
something to do with my soundcard? they seem fairly unpredicable.
thanks in advance,
graham
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Subject: Re: [microsound] snaps and pops in reaktor?
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adjust your card's buffer settings
On Fri, 12 Nov 2004 14:13:57 -0500, graham miller
<xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> what causes them (as in the undesirable pops and snaps) and how can i
> get rid of them? i doesn't look like it's a clipping issue... maybe
> something to do with my soundcard? they seem fairly unpredicable.
>
> thanks in advance,
>
> graham
>
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Date: Fri, 12 Nov 2004 20:18:37 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] snaps and pops in reaktor?
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graham miller wrote:
> what causes them (as in the undesirable pops and snaps) and how can i
> get rid of them? i doesn't look like it's a clipping issue... maybe
> something to do with my soundcard? they seem fairly unpredicable.
>
bufferproblems maybe, try to increase buffers or latency or what they
call it, don't know much about Reaktor but recognize the symptom.
Cheers,
Malte
--
Malte Steiner
media art + development
-www.block4.com-
blog 4, also available as rss feed:
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next events:
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From: chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] usefulness of "mastering"...
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>>Wouldn't it be great to hear a feminist critique of the term
>>"mastering" in this context....
well i am male, but being sort of feminist in my views, and liking
good analogies, here's what i thought of when you said that:
if something is "mastered" properly, it's done with finesse, skill,
and forcefulness is only applied when necessary. done well, it can
make things shine better while still being mostly transparent.
however, if something is "mastered" badly, heavy-handedly applying
equalization and limiting, and using the wrong tools for the job, the
result bears too much of the stamp of the person doing the mastering
and the original loses the qualities that made it special. it can
even be disastrous.
i think you can read those as talking about music or not and they are
equally true.
d.
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From ???@??? Fri Nov 12 19:57:55 2004
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Date: Fri, 12 Nov 2004 19:57:36 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] usefulness of compressors/mastering in experimental
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>> Wouldn't it be great to hear a feminist critique of the term "mastering" in
>> this context....
In Dutch, my understanding is that a master tape is referred to as the
"motherband". There's no real reason for the Hegelian "master/slave"
terminology in audio; it might be interesting to consider how different
metaphors would put the whole "mastering" process in a different light;
what if was called "mothering" instead?
P
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+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.
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hi
( 04.11.12 19:57 +0000 ) Phil Thomson:
> it might be interesting to consider how different metaphors would put
> the whole "mastering" process in a different light; what if was called
> "mothering" instead?
what if it was called 'sitting in a dirty room with sweaty people for
hours listening to the same sounds over and over again until you're just
about out of your fucking mind?'
--
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Subject: Re: [microsound] snaps and pops in reaktor?
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on 11/12/04 2:13 PM, graham miller at xxxxxxxxxxxx@xxxxxxxxx.xx wrote:
> what causes them (as in the undesirable pops and snaps) and how can i
> get rid of them? i doesn't look like it's a clipping issue... maybe
> something to do with my soundcard? they seem fairly unpredicable.
>
> thanks in advance,
>
> graham
>
>
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>
it mostly likely has to do with your buffer settings, as in when the app is
not able to transfer enough info to your DA, therefore it pops. Try
increasing the buffer. This same thing happens with PCI processor cards.
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Subject: Re: [microsound] snaps and pops in reaktor?
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I thought it was supposed to sound like that.
on 11/12/04 2:13 PM, graham miller at xxxxxxxxxxxx@xxxxxxxxx.xx wrote:
> what causes them (as in the undesirable pops and snaps) and how can i
> get rid of them? i doesn't look like it's a clipping issue... maybe
> something to do with my soundcard? they seem fairly unpredicable.
>
> thanks in advance,
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>I thought it was supposed to sound like that.
-It's a feature they really worked hard on...
AvS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................
` |Schreck Ensemble . . . . . . . . . . . . . . . . . . . . +
` |# -laboratory for live electro-acoustic music- # |
| http://www.schreck.nl/ |
| http://www.xs4all.nl/~schreck/ |
` *===========================================================++
` |Compositions http://www.xs4all.nl/~schreck/html/compo.html |
` |Samples http://www.xs4all.nl/~schreck/html/samp.html |
` |Patches http://www.xs4all.nl/~schreck/html/pat.html |
` |Videos http://www.xs4all.nl/~schreck/html/video.html |
` |Scores http://www.xs4all.nl/~schreck/html/scores.html |
*===========================================================++
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................
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From ???@??? Fri Nov 12 21:28:29 2004
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Date: Fri, 12 Nov 2004 16:31:53 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] snaps and pops in reaktor?
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it's really annoying, i know. i keep trying to make bluegrass using the
blasted software and all i get is cutting edge microsound:)
damn.
"Trace E. Reddell" wrote:
> I thought it was supposed to sound like that.
>
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this also addresses the same topic:
http://www.wnyc.org/shows/radiolab/episodes/07092004
-----Original Message-----
From: Domonkos Nagy <xxxxxxx@xxxxx.xx.xx>
Sent: Nov 12, 2004 10:28 AM
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] music -> speech
http://www.nature.com/news/2004/041108/full/041108-12.html
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Date: Fri, 12 Nov 2004 17:07:34 -0500
From: michael trommer <xxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] snaps and pops in reaktor?
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> what causes them (as in the undesirable pops and snaps) and how can i
> get rid of them?
probably an overtaxed processor. i find that reducing the sample rate
usually helps.
are you on a mac ?
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Date: Sat, 13 Nov 2004 00:43:37 +0100
From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] usefulness of compressors/mastering in
experimentalmusic
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>following his discoveries music became part of the quadrivium.
-So easily forgotten!
Thus: http://members.aol.com/oldenwilde/members/diu/quadriv.html
AvS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................
` |Schreck Ensemble . . . . . . . . . . . . . . . . . . . . +
` |# -laboratory for live electro-acoustic music- # |
| http://www.schreck.nl/ |
| http://www.xs4all.nl/~schreck/ |
` *===========================================================++
` |Compositions http://www.xs4all.nl/~schreck/html/compo.html |
` |Samples http://www.xs4all.nl/~schreck/html/samp.html |
` |Patches http://www.xs4all.nl/~schreck/html/pat.html |
` |Videos http://www.xs4all.nl/~schreck/html/video.html |
` |Scores http://www.xs4all.nl/~schreck/html/scores.html |
*===========================================================++
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......................................................................
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Date: Fri, 12 Nov 2004 18:54:04 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] snaps and pops in reaktor?/tonight in toronto..
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yep. thanks for all the help, everyone. i figured as much. i increased the
buffer and no problemo. now i have non-glitchy glitch:)
michael, are you going to bit rock tonight at the tequila lounge?
here's the scoop:
Bit_Rock with P3M
a night of electronic Music
come join us for the next installation of our audio-visual inspiring
evenings ? Bit_Rock ?, featuring the newest sights and sounds by
Project3media and the Bit Rock Alumnae Crew.
Come Check it:
Friday, November 12, 2004
Tequilla Lounge
794 Bathurst ? (opposite Bathurst Station at Bloor)
Doors Open @ 9:30 ? Pay what you Can
The line up includes:
Kuma vs. Yoo-klid (19-t)
Minisystem
Setzer (Civik, merck, six records)
Nybbl (Noise Factory)
post DJ set by:
Ozawa(Wabi, Supersharu)
For mor info and stuff :
www.bitrockalumnae.com
www.project3media.com
michael trommer wrote:
> > what causes them (as in the undesirable pops and snaps) and how can i
> > get rid of them?
>
> probably an overtaxed processor. i find that reducing the sample rate
> usually helps.
>
> are you on a mac ?
>
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Date: Fri, 12 Nov 2004 22:01:25 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] DVD audio?
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question: why are there no really cutting edge DVD audio pieces out
there?
i was just perusing www.thedigitalbits.com and i still can't believe the
kinds of music that get remastered into 5.1 sound... i mean do we really
need surround sound versions of the bob dylan or elvis? it seems like
such a wasted opportunity for experimental electronic musicians to
explore this medium. i have the (björk) vespertine 5.1 and a live
underworld, but i'd rather be listening to something that utilizes the
format a little more creatively... can anyone turn me on to exception
mail or internet order DVD audio? i assume that's the only way to get
it. the genre really doesn't matter, so long as it's pushing the
envelope sonically. i'm still blown away by janet cardiff's stuff, and
would love if those kind of spatial qualities could get out of the
gallery, and beyond installation art, and enter the home. god knows,
there's enough people out there listening to home alone 3 in surround
sound. why isn't there music, like ours, readily available? maybe i'm
wrong, but i'd love to proven otherwise.
g.
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From: stephan mathieu <xxxxx@xxxxxx.xxx>
Subject: re: [microsound] usefulness of compressors/mastering in experimental
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>
i'm personally leaving the digital domain behind me more and more.
so instead of buying a newer/faster computer i'm using the cheapest mac i could find 2 years ago and invested my bucks in some vintage analog hardware. to record my basic sounds (thats mainly acoustic instruments) i'm using a pair of neumann KM184 mikes or a borrowed M149 tube plugged into a studer 169 console or straight into DAT. the only signal modifications i'm doing is made with the studers EQ section, sometimes i'm also using a nagra IV-2S for tape saturation. once i've finished a piece i'll give it to henner dondorf who will do the final mastering with an all-analog setup.
i've recently made some (re-)masterings for other people using the mixing board/reel2reel setup discribed above (ie. john hudaks 'room with sky') but i dont like the idea of mastering my own things because at a certain point i'll definetely loose objectivity.
also i love to colour my still more or less digital beasts with vintage analog equipment and henner is a true master at this (drop me a line offlist at mathieu(at)bitsteam.de if you want to get in touch with him).
- stephan
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From: pawel <xxxxxxxxxxxx@xxxxxxx.xx>
Subject: [microsound] WRO 05 - 11th International Media Art Biennale / Call for
Entries
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WRO 05 - 11th International Media Art Biennale
May 11th - 15th, 2005
Wroclaw, Poland
All interested artists are invited to take part in the 11th International
Media Art Biennale WRO 05 competition. The submission form can be found on
our website: http://wro05.wrocenter.pl .The deadline for submitting
competition entries is January 15th, 2005; further requirements are detailed
in the competition regulations. The submission form and competition
regulations are available in pdf format in Polish and English.
The International Media Art Biennale WRO is the leading forum for new media
art in Central Europe. When it debuted in December 1989 as the Sound Basis
Visual Art Festival, WRO was devoted primarily to audiovisual works in
formats ranging from video and computer art to installations, performances
and multimedia presentations. Since 1993, the festival - now a biennial
event - has also explored digital art as a form of creative expression. WRO
is an ongoing enquiry into the artist's relationship to the blurring
boundaries between high and popular culture, between local and global
awareness, between commercial and independent endeavours. It puts particular
emphasis on individual artistic strategies in the face of global tendencies,
and on the fluidity of artistic responses to the culture of the society of
the spectacle.
WRO Center for Media Art
29a Kuznicza St
PO BOX 1385
54-137 Wroclaw
Poland
tel.: +48 71 344 83 69
fax: +48 71 342 26 91
e-mail: xxxx@xxxxxxxxx.xx
http://wrocenter.pl
SORRY FOR CROSS-POSTING
----------------------------------------------------------------------
Ponad 400 tysiecy facetow czeka na Ciebie
>>> http://link.interia.pl/f183a
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Date: Sat, 13 Nov 2004 14:37:37 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] WIRED: new Linux sequencer/editor
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One misconception about doing audio on Linux is the lack "user friendly"
music apps. I don't think that Wired is as professional and complex a
program as Ardour (Pro-Tools style multi track recording), for example,
but for the Live headz and the drag-and-drop crowd out there, this could
some day inspire ditching windoze (at least) and trying out the free
software world. Hope this makes it in to Dynebolic soon!
http://bloodshed.net/wired/
d.
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 194:
"Steal a solution."
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Date: Sat, 13 Nov 2004 15:12:10 +0100
From: Jean-Louis Huhta <xxxx-xxxxx@xxxxxxxx.xxx>
Subject: [microsound] Swedish Electronic music in Napoli 041711
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--Boundary_(ID_+i8eNZUGJl8MwBVNsPo1rQ)
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Hello all
if you happen to be in Napoli 17 nov
check us out
Jean-Louis Huhta
LA PROVINCIA DI NAPOLI, VILLA SAN MICHELE - MUNTHES AXEL, MARIA BONNIER
DAHLIN FOUNDATION and SVENSKA INSTITUTET
present
VERTIGO
Contemporary Swedish Art Exhibition
Santa Maria La Nova, Napoli
November 17 - November 27, 2004
S.L.E.M
Stockholm Live Electronic Music
Performance
Santa Maria La Nova, Napoli
November 17, 2004
Opening November 17, 18:30
VERTIGO
Participating artists:
Ann Böttcher
Richard Griffith Carlsson
Petra Lindholm
Tilda Lovell
Eva Marklund
Karin Ohlin
Martin Ålund
S.L.E.M:
Jean-Louis Huhta
Andreas Berthling
Lars Åkerlund
Johan Skugge
The exhibition Vertigo deals with an unsentimental reconquering of a
set of
values in art that can be difficult to formulate. Values that are often
considered spent or exhausted. I would like to talk of "poetry" and use
terms such as "sublimity" or the "beautiful" without seeming either
romantically moralising or (tediously) post-modern and subsequently end
up
in the meaninglessness of it all.
The art presented in Vertigo does not stake emotional claims using
flamboyant gestures. The impetus for emotion, however, plays a key role
in
these expressions.
Martin Ålund (Curator/Artist)
Opening Hours:
Monday - Friday 10.00 - 13:00, 15.00 - 17.00
Saturday 10.00 -13.00
Sunday closed
Press photos: http://www.petermann.org/vertigo
For more information, please contact Elin Sleipnes:
xxx.xxxxxxxxxx@xxxxxxxxxx.xxx
http://www.sanmichele.org
http://www.axelmunthe.com
http://www.jeanlouis.biz/
--Boundary_(ID_+i8eNZUGJl8MwBVNsPo1rQ)--
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Subject: [microsound] linux audio editor
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http://bloodshed.net/wired/
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Date: Sat, 13 Nov 2004 12:19:13 -0500 (EST)
From: Neil Wiernik <xxxx@xxxxxxxx.xxx>
Subject: [microsound] U/CTRL TOUR nov 20-27th 2004
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FOR IMMEDIATE RELEASE
U/CTRL MICRO-TOUR 2004
FEATURING:
* ANDREW DUKE - HALIFAX - BIP HOP RECORDS
* NAW - MONTREAL - NOISE FACTORY RECORDS
* AKUMU - TORONTO - SPIDER RECORDS
MEDIA CONTACT: xxxx@xxxxxxxxxxxxx.xxx
- - - - - - - - - - - - - - - - - - - - - - - - - -
U/CTRL
ELECTRONIC MICRO-TOUR 2004
NOVEMBER 20-27, 2004
A SHOWCASE OF CANADIAN LAPTOP TALENT
HTTP://WWW.SPIDERRECORDS.COM/UCTRL
Hamilton * Toronto * London * St. Catharines * Guelph * Ottawa * Québec
City * Montréal
The inaugural U/CTRL Tour (November 20 - 27, 2004) brings live
electronic music to eight Canadian cities in eight nights. Showcasing
three of Canada's top laptop artists, U/CTRL presents cutting-edge
electronic music ranging from ambient/glitch to IDM to deep, dubby
techno, accompanied by multi-media projections and original video
art.
U/CTRL performers Andrew Duke, NAW and Akumu are each accomplished
independent electronic artists with multiple releases and remixes on
labels around the world. Live, they produce customized sound
environments for deep listening that incorporate a variety of
techniques, and improvisations. For U/CTRL, they will perform live solo
sets highlighting fresh material from new and upcoming releases.
U/CTRL takes electronic music out of the clubs and studios and into
bars, cafes and gallery spaces across Ontario and Quebec, bringing new
sounds to new listeners.
About the performers:
ANDREW DUKE (Halifax)
Producer, DJ and remixer (Chicks on Speed, Pink Floyd) whose
international releases have been praised in the Wire and Exclaim. His
upcoming release is on Montreal's PetiteSono Records.
NAW (Montreal)
a.k.a. Neil Wiernik, who joins the tour in support of his new full-length
release, Green Nights Orange Days (Noise Factory Records.) Purveyor of
experimental Dub-tech rhythms, sound design and manipulation, he has been
a force in the Canadian electronic, techno and ambient music scenes for 10
years. A co-founder and member of Montreal's Phoniq collective, he has just
returned from a European mini-tour.
AKUMU (Toronto)
Ambient sounds and shadowy beats with digital video manipulations from
Toronto's Deane Hughes (Thrive/Alchemy). The latest Akumu CD, Fluxes
(Spider Records) was composed in Central America and has been compared
to Tim Hecker by Montreal's ICI magazine and called "soundtrack to an
imaginary David Cronenberg Movie" by Toronto's eye weekly.
TOUR DATES
Saturday. Nov 20 -- Hamilton -- The Casbah (Early show: 6pm)
Sunday Nov 21 -- Toronto -- Tequila Lounge (presented by Stained Prod)
Monday Nov 22 -- London -- The Last Drop (with DJ Phonecard)
Tuesday Nov 23 -- St. Catharines -- The Mikado (with DJ <machine>)
Wednesday Nov 24 -- Guelph -- News Café (presented by Linx Industries)
Thursday Nov 25 -- Ottawa -- Agora/Universe City (5th Year Anniversary)
Friday Nov 26 -- Québec City -- Galerie Rouje (presented by pertinence)
Saturday Nov 27 -- Montréal -- Esperanza (presented by Phoniq)
Music Samples (MP3s) at the Tour website:
HTTP://WWW.SPIDERRECORDS.COM/UCTRL
- ARTIST BIOGRAPHIES -
Andrew Duke
Andrew Duke has been composing, producing, remixing, and performing
music since 1987. His music is consistently referred to by the media
and listeners alike as continuously presenting a unique and distinct
sound; quotes: "Andrew Duke creates music that sounds like it has a
reason for living" (The Wire, UK); "He often seems to be inventing new
genres" (Cyclic Defrost, Australia); "Andrew Duke renews my faith in
the world of slow-mo techno" (Igloomag/Microview, USA); "Andrew Duke
reinvents himself almost with every release" (All Music Guide, USA);
"Andrew Duke puts his soul into his experimental music" (The Halifax
Daily News, Canada); "The man behind the East Coast electronic music
scene, Duke displays a different facet of his skill with every release"
(Exclaim, Canada). His Sprung album (released on France's Bip-Hop label
in 2002) was nominated for Album of the Year (Electronica) at the 2003
annual Canadian Independent Music Awards. He has been commissioned for
42+ remixes (for artists such as Aaliyah, Pink Floyd, Chicks On Speed,
Heavy Meadows, and David Kristian), has licensed 115+ tracks to
compilations, and toured his live PA across Canada.
Artist Contact: xxxxxxxxxx@xxxxxxxxxxxxxxxxxxx.xxx
NAW
Montreal native Neil Wiernik began his explorations in electronic music
making as early as 1988. Known to push the boundaries of his musical
form, from designing new or manipulating existing sound-making
devices and software, to creative uses of production environments and
sound sources, naw’s 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 releases on
Noise Factory, Clevermusic, Complot, Piehead, RRR and A/S systems. As
naw, Neil has performed extensively alongside a variety of national and
international artists both in and outside of Canada.
Artist Contact: xxx@xxxxxx.xxx
AKUMU
Akumu is the solo electronic project for composer Deane Hughes
(formerly of Thrive/Alchemy). The self-titled debut CD (Spider
Records/Fusion III) topped CBC Galaxie's Ambient chart for 9 months,
was nominated for Best Electronic Album (CMW Awards 2001) and licensed
for use in feature film and television. Akumu's new CD, Fluxes, is an
ambient, zero-bpm release written in Mexico and Central America and
recorded in Toronto with engineer/producer Jeff McMurrich (Infinite
Systems/Deepspace). It continues Hughes' exploration of shadowy
atmospheres and moods, pushing further into minimal territory. It has
received airplay on Brave New Waves and positive reviews in Montreal's
Mirror and ICI Magazines. Akumu performs live PA sets with original,
digital video manipulations. Past performances have included Montreal
(Phoniq series) and Toronto (Ambient Ping series, the Rivoli, NOW
Lounge.) A second disc from the same sessions, containing slow-beat
rhythms, is forthcoming winter 2004.
Artist Contact: xxxxx@xxxxxxxxxxxxx.xxx
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Date: Sat, 13 Nov 2004 12:21:53 -0500 (EST)
From: Neil Wiernik <xxxx@xxxxxxxx.xxx>
Subject: [microsound] naw toronto record release party 10/19/04
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SYNCRO FRIDAYS PRESENTS
NOVEMBER 19 2004
naw (Montreal, Noise Factory Records)
LIVE P.A. + RELEASE PARTY for Green Nights Orange Days
Montreal's Neil Wiernik (a.k.a. naw) has been an instrumental force in
the Canadian electronic, techno, experimental and ambient music scene for
the past 10 years. Known to push the boundaries of his musical form, naw
has released on labels including Noise Factory, Complot, Clevermusic,
Piehead, and A/S Systems. With the new Green Nights Orange Days, naw has
come into his own sound, blending dub-tech rhythms with gorgeous
abstractions and heavy-hitting beats. Here, he crafts a special, steadily
building live P.A., aimed at our hearts, brains and bodies.
Expect to be moved.
www.noisefactoryrecords.com
Live P.A. begins at 11:30pm.
NO COVER.
at
Andy Poolhall
489 College Street
416.923.5300
resident DJs
DENISE BENSON savour. CKLN `Mental Chatter'
+ ANDREW ALLSGOOD fascination. CKLN 'Bruckbeat Radio'
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From: sishi eater <xxxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] DVD Audio
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The first thing that came to mind was the release from
Starkland-Immersion:
http://www.starkland.com/st2010/index.htm
Features Pamela Z, Carl Stone, Merzbow and many more.
Sounds interesting in theory at least, have not heard
it myself. I know of no other releases in the
experimental field using surround. I would be
interested in knowing what is available.
PoM:A
Just released on Tibprod: Reconstruct II-remixes based
on the material submitted by Cadmium Dunkel
http://www.tibprod.com/reconstruct2.htm
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From: Gregory Elliott <xxxxxxxx@xxxxxxxxxx.xxx>
Subject: Re: [microsound] DVD Audio
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>The first thing that came to mind was the release from
>Starkland-Immersion:
>http://www.starkland.com/st2010/index.htm
I have heard this, and most of the stuff on it is really good. I don't remember what specific things were good on it, as it belongs to a friend of mine, but most of it is very interesting.
Greg
http://spagirus.ivdt.net
--- sishi eater <xxxxxxxxxxx@xxxxx.xxx> wrote:
From: sishi eater <xxxxxxxxxxx@xxxxx.xxx>
Date: Sat, 13 Nov 2004 09:53:37 -0800 (PST)
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] DVD Audio
The first thing that came to mind was the release from
Starkland-Immersion:
http://www.starkland.com/st2010/index.htm
Features Pamela Z, Carl Stone, Merzbow and many more.
Sounds interesting in theory at least, have not heard
it myself. I know of no other releases in the
experimental field using surround. I would be
interested in knowing what is available.
PoM:A
Just released on Tibprod: Reconstruct II-remixes based
on the material submitted by Cadmium Dunkel
http://www.tibprod.com/reconstruct2.htm
__________________________________
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Date: Sat, 13 Nov 2004 15:54:57 -0500
From: John Nowak <xxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] usefulness of code and open standards
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On Nov 12, 2004, at 6:57 AM, xxxxxx@xxxxxxx.xxx wrote:
> how intriquing that we all keep using classical/modernist analogies to
> attempt to understand or define something that is supposedly so far
> removed from that realm (time and place).
Indeed. Let's call the code "code" and let's call the audio "audio". No
more of this code-as-composition, "which part is the art" stuff.
- John
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From: Paulo Mouat <xxxxxxxxxx@xxxxxxxx.xxx>
Subject: RE: [microsound] DVD Audio
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Morton Subotnik, Electronic Works vols 1 and 2, released on Mode.
//P
http://www.interdisciplina.org/00.0/
> -----Original Message-----
> From: sishi eater [mailto:xxxxxxxxxxx@xxxxx.xxx]
> Sent: Saturday, November 13, 2004 12:54 PM
> To: microsound
> Subject: Re: [microsound] DVD Audio
>
> The first thing that came to mind was the release from
> Starkland-Immersion:
> http://www.starkland.com/st2010/index.htm
>
> Features Pamela Z, Carl Stone, Merzbow and many more.
> Sounds interesting in theory at least, have not heard it
> myself. I know of no other releases in the experimental field
> using surround. I would be interested in knowing what is available.
>
> PoM:A
>
> Just released on Tibprod: Reconstruct II-remixes based on the
> material submitted by Cadmium Dunkel
> http://www.tibprod.com/reconstruct2.htm
>
>
>
>
> __________________________________
> Do you Yahoo!?
> Check out the new Yahoo! Front Page.
> www.yahoo.com
>
>
>
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>
>
>
>
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From: Richard Zvonar <xxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] DVD Audio
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At 9:53 AM -0800 11/13/04, sishi eater wrote:
>The first thing that came to mind was the release from
>Starkland-Immersion:
>http://www.starkland.com/st2010/index.htm
It's a good collection. Starkland president Tom Steenland gave a
presentation about it at the Surround 2002 conference, using a
high-quality 5.1 system.
You might check out Roger Reynolds' "Watershed IV" DVD as well as
Mort Subotnick's "Electronic Works," Volumes 1 and 2 from Mode
Records. Mode also has a 5.1 DVD of George Crumb's "Makrokosmos I &
II."
--
______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://RZCybernetics.com
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From ???@??? Sun Nov 14 02:20:19 2004
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From: uzekt <xxxxx@xxxxxxx.xx>
Subject: [microsound] hola
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--Boundary_(ID_l+LPa6AXZz72SmbAQhiqjw)
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Hola a todos, he estado haciendo algo de planificacion en sinergy-networks
para tener todo el proyecto mas controlado y no volveros locos con prisas y
demas.
Tampoco quiero hacer una programacion a largo plazo ya que eso romperia la
magia de sacar musica fresca como lo hemos hecho hasta ahora.
abajo detallo los proyectos que te han sido asignado para que me des tu
aprobado y nos pongamos en marcha:
Hi, I have been doing some plannification on sinergy-networks to have more
control on the poryect and to give you enough time for then.
I don´t want to make a long term plannification to keep releasing fresh
material like we have done till now
I have detalied below the projects where you are involved for your aproval:
SN011 - TONNE - LILIUM REMIXES - release date19 NOVIEMBRE
Remixes by .bern, tez, lod, mikael stavostrand, gurtz?, funzion?
SN017 - THINNERGY- release date 4 FEBRERO
Gurtz, funzion, lod, bern .....markus, theodor, pheek,
SN020 - BERN + CANCER???? - release date 18 MARCH
THANKS IN ADVANCE
Luis Ortiz
www.klitekture.com ......NEW SITE (design by TONNE a.k.a. Paul farrington)
www.sinergy-networks.com
xxxxxxxxx@xxxxxxxxxx.xxx
xxxxxxxxx@xxxxxxx-xxxxxxxx.xxx
-----------
KLITEKTURE RELEASES (NEW ONLINE STORE)
KLK004 EPITOME VOL 1.....out now!!!!
KLK005 TONNE LILIUM.......promotion on the online store!!! check the
klitekture site for details
vinyl/CD distribution: www.net28.net
mp3 distribution: www.nufonix.com
-----------
SINERGY RELEASES
SN009 ROMAN SKOK + PEP GAYA - SHIVER MY TIMBERS E.P.
SN010 FABEL + KIMBERLY KLARK - SOUND SKETCHES
free download @ www.sinergy-networks.com
--Boundary_(ID_l+LPa6AXZz72SmbAQhiqjw)--
From ???@??? Sun Nov 14 06:35:24 2004
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From: Julian Knowles <xxxxxxxxxxxxx@xxx.xxx>
Subject: Re: [microsound] DVD Audio
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Phill Niblock 'The Movement of People Working" - Extreme
Robin Fox 'Backscatter" - Synaesthesia
I think there are a number of other releases. People have been making
DVDs for a while now (mostly using the DVD Video standard as opposed
to the DVD Audio standard).
julian
On Sunday, November 14, 2004, at 09:02 AM, Paulo Mouat wrote:
> Morton Subotnik, Electronic Works vols 1 and 2, released on Mode.
>
> //P
> http://www.interdisciplina.org/00.0/
>
>> -----Original Message-----
>> From: sishi eater [mailto:xxxxxxxxxxx@xxxxx.xxx]
>> Sent: Saturday, November 13, 2004 12:54 PM
>> To: microsound
>> Subject: Re: [microsound] DVD Audio
>>
>> The first thing that came to mind was the release from
>> Starkland-Immersion:
>> http://www.starkland.com/st2010/index.htm
>>
>> Features Pamela Z, Carl Stone, Merzbow and many more.
>> Sounds interesting in theory at least, have not heard it
>> myself. I know of no other releases in the experimental field
>> using surround. I would be interested in knowing what is available.
>>
>> PoM:A
>>
>> Just released on Tibprod: Reconstruct II-remixes based on the
>> material submitted by Cadmium Dunkel
>> http://www.tibprod.com/reconstruct2.htm
>>
>>
>>
>>
>> __________________________________
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>>
>>
>>
>
>
>
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hello....
I would be interested in signing the list
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From: Bernhard Schreiner <xxxxxxxxxxx@xxx.xx>
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There's a new DVD Edition called INDEX, it's an ongoing project from
austrian-experimental-film-distribution "Sixpackfilm".
www.index-dvd.at
There is the Sonic Fiction sampler-release and also one by Granular Synthesis.
The other releases should be interesting to some of you too ...
Bernie
microsound <xxxxxxxxxx@xxxxxxxxx.xxx> schrieb am 14.11.04 07:35:31:
>
> Phill Niblock 'The Movement of People Working" - Extreme
>
> Robin Fox 'Backscatter" - Synaesthesia
>
> I think there are a number of other releases. People have been making
> DVDs for a while now (mostly using the DVD Video standard as opposed
> to the DVD Audio standard).
>
> julian
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Date: Sun, 14 Nov 2004 11:30:29 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] DVD audio?
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> question: why are there no really cutting edge DVD audio pieces out
> there?
There are a few fascinating forays into DVD over the past few years, perhaps
starting with Farmer's Manual and their _RLA_ release on MEGO (although
certainly not the first, the most comprehensive collection) and heading into
~scape's recent DIN release of collected pieces, the _Visual Niches 1 + 2_
series of electronic music videos, the Rechenzentraum _Director's Cut_
release which included a DVD, the _Male/Female_ industrial project which
presents a psychogeographical post-industrial apocalyptic landscape to
wander the music through, the Skoltz_Kolgen work (which is incredible), work
by Pure/Dekam, and a few others. These are all DVD and primarily make use of
the format to include visual work, documentation, layout. The sound is
stellar but not 5.1.
Don't forget Hawtin's 5.1 version of Concept96. I'm not sure if this has
been released on DVD yet, somebody should push him to do so.
best,
tobias
> i was just perusing www.thedigitalbits.com and i still can't believe the
> kinds of music that get remastered into 5.1 sound... i mean do we really
> need surround sound versions of the bob dylan or elvis? it seems like
> such a wasted opportunity for experimental electronic musicians to
> explore this medium. i have the (björk) vespertine 5.1 and a live
> underworld, but i'd rather be listening to something that utilizes the
> format a little more creatively... can anyone turn me on to exception
> mail or internet order DVD audio? i assume that's the only way to get
> it. the genre really doesn't matter, so long as it's pushing the
> envelope sonically. i'm still blown away by janet cardiff's stuff, and
> would love if those kind of spatial qualities could get out of the
> gallery, and beyond installation art, and enter the home. god knows,
> there's enough people out there listening to home alone 3 in surround
> sound. why isn't there music, like ours, readily available? maybe i'm
> wrong, but i'd love to proven otherwise.
>
> g.
>
>
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tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
ICQ: 18766209 | AIM: thesaibot +++
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Am 14.11.2004 17:30 Uhr schrieb "tobias c. van Veen" unter
<xxxxxx@xxxxxx.xx>:
> the Skoltz_Kolgen work (which is incredible)
i'm not aware of any skoltz_kolgen release on dvd...
tobias, do you have a link to the label that released this?
thx, ralph.
--
..:.: http://www.synchron.ch :.:.
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From: Guilermo Mugular <xxxxxxxx@xxxxx.xx>
Subject: [microsound] Madrid Microsounders
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hi everybody,
i'm going to be in Madrid from 18 of november to 9th
of january 2005
it will be great to meet madrid micosounders
I`m open to gigs and collaborations
also, are there any interesting place to buy records
and sound events at that time?
Thanks
Guillermo
www.audiodaspoly.com
Hola a todos
Voy a estar en Madrid desde el 18 de Noviembre
hasta el 9 de enero del 2005
me gustaria ponerme en contacto con gente
de la lista, estoy abierto a participar
en algún evento o colaboración.
Y si pueden comentarme de algún evento interesante
y lugares donde comprar música...
gRacias
Guillermo
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From ???@??? Sun Nov 14 21:29:48 2004
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Date: Sun, 14 Nov 2004 22:30:36 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Madrid Microsounders
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Guilermo Mugular wrote:
> hi everybody,
> i'm going to be in Madrid from 18 of november to 9th
> of january 2005
> it will be great to meet madrid micosounders
> I`m open to gigs and collaborations
> also, are there any interesting place to buy records
> and sound events at that time?
> Thanks
> Guillermo
>
I recommend Radar music club. And check out the artmuseum sofia near the
Atocha station, they got an incredible collection of contemporary art. I
guess Coeval who is on this list too will tell more...
Cheers,
Malte
--
Malte Steiner
media art + development
-www.block4.com-
blog 4, also available as rss feed:
http://java.block4.com/blog4/
next events:
26.november workshop 3d modelling for max/msp jitter
Musikhochschule Hamburg, Germany
26.november concert Elektronengehirn
hoerbar Hamburg, Germany
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steinbrüchel <xxxxxxxxxxxx@xxxxxxxx.xx> wrote::
> > the Skoltz_Kolgen work (which is incredible)
> i'm not aware of any skoltz_kolgen release on dvd...
> tobias, do you have a link to the label that released this?
I wasn't aware that there was anything else available at all other than
the release on 12k/Line...
And for some reason, I've always had trouble entering their website
and don't know if they have any other audio releases or not.
If so, I would be very interested in knowing what they are... :-)
I really like their mp3 for the Fallt Invisible Cities project as well.
Cheers, Dale
--Boundary_(ID_4LW0KWRDaM9kgceNG3WAUw)--
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Oop, found it.
It was Mutek Rec:
http://www.textura.org/archivespages/qrst/skoltzkolgen.htm
The Mutek site is taking a long time to open...
Best, Dale
steinbrüchel <xxxxxxxxxxxx@xxxxxxxx.xx> wrote:
Am 14.11.2004 17:30 Uhr schrieb "tobias c. van Veen" unter
:
> the Skoltz_Kolgen work (which is incredible)
i'm not aware of any skoltz_kolgen release on dvd...
tobias, do you have a link to the label that released this?
thx, ralph.
--
..:.: http://www.synchron.ch :.:.
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From ???@??? Mon Nov 15 01:57:51 2004
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Date: Sun, 14 Nov 2004 21:03:00 -0500
From: david turgeon <xx@xxxxxxxxx.xxx>
Subject: [microsound] DVD Audio
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just to mention (since the subject was brought up) that empreintes
digitales are going 5.1 for their next releases... ~d
>Date: Sun, 14 Nov 2004 15:43:17 -0500
>To: xxxx@xxxxxxxxxxxxxxxxxxx.xxx
>From: Jean-François Denis <xxx@xxxxxxxxx.xxx>
>Subject: empreintes DIGITALes / 24 bit / Stéréo / 5.1
>
>Hello,
>
>Two great changes - one artistic, one technological -- are in development
>for empreintes DIGITALes.
>
>Very High Fidelity + The Space of Sound
>---------------------------------------
>
>DVD-Video
>The reproduction a non-compressed audio signal at 48kHz/24bit (and more)
>has been possible since the establishment of the DVD-Video norm (in the
>mid-1990s).
>It is the great popularity of this standard (thanks for cinema) that makes
>DVD-Video a realistic media for the distirbution of our works.
>
>
>DVD-Audio
>For over two years this standard is slowly developping and offer a very
>high fidelity in stereo (up to 192kHz/24bit) _and_ in 5.1 "multiphony" (up
>to 96kHz/24bit)
>
>
>DVD Universal is a disc which has both a DVD-Audio zone and a DVD-Video
>zone making it "compatible" with every DVD player in the world!
>
>
>So empreintes DIGITALes is jumping into the production of Very High
>Fidelity discs (in DVD-Audio and DVD-Video) in stereo (2.0) and, when
>possible, in "surround" (up to 5.1).
>
>Check out http://www.empreintesDIGITALes.com/ in December for follow ups!
>
>
>
>Jean-François Denis
>
>
>--
>
> ..................................................................
> . Jean-Francois Denis ......
> . DIFFUSION i MeDIA / empreintes DIGITALes / No Type .....
> ..................................................................
> . jfd @ electrocd.com .. 4580, avenue de Lorimier ...
> . http://www.electrocd.com/ .. Montreal, QC H2H 2B5 - CANADA ..
> ..................................................................
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Date: Mon, 15 Nov 2004 03:03:21 +0100
From: Pablo Sanz Almoguera <xxxxxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] Madrid Microsounders
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FILETIME=[5FBF3950:01C4CAB7]
Hi Guillermo!
I live in Madrid. One of the most interesting places to buy records here is
Rotor. Radar is a bar with a nice music selection and ocasional live acts.
As Malte Said, Reina Sofia is a oblique visit here....also a small
audiovisual festival called "Cine y casi cine" is being there at the museum
in these days. Other interesting events will be from here to january in
Madrid surely.
take my mail :)
Best, Pablo
- - -
blog : :: ::: www.livejournal.com/users/h_0/
: :: ::: xxx_x@xxxxxxx.xxx
>From: Guilermo Mugular <xxxxxxxx@xxxxx.xx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: [microsound] Madrid Microsounders
>Date: Sun, 14 Nov 2004 18:13:01 +0100 (CET)
>
>hi everybody,
>i'm going to be in Madrid from 18 of november to 9th
>of january 2005
>it will be great to meet madrid micosounders
>I`m open to gigs and collaborations
>also, are there any interesting place to buy records
>and sound events at that time?
>Thanks
>Guillermo
>
>www.audiodaspoly.com
>
>
>Hola a todos
>Voy a estar en Madrid desde el 18 de Noviembre
>hasta el 9 de enero del 2005
>me gustaria ponerme en contacto con gente
>de la lista, estoy abierto a participar
>en algún evento o colaboración.
>Y si pueden comentarme de algún evento interesante
>y lugares donde comprar música...
>gRacias
>Guillermo
>
>
>
_________________________________________________________________
Un amor, una aventura, compañía para un viaje. Regístrate gratis en MSN Amor
& Amistad. http://match.msn.es/
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Subject: [microsound] from thaniel ion lee
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To find comfort in one's own skin
recent works by Thaniel ion lee
Beginning November 19, 2004
at the Swanson Reed Contemporary Gallery
638 East Market, Louisville, KY
502-589 5466
opening reception 5-8 PM, November 19th
MEDIUMS photography and paintings (some nudity)
The front door is accessible; the restroom is not.
For more information e-mail the artist at xxxxxxx@xxx.xxx or call the gallery between 11 AM and 6 PM (Wednesday, Thursday, Friday, or Saturday)
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From ???@??? Mon Nov 15 09:05:36 2004
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Date: Mon, 15 Nov 2004 10:04:38 +0100
From: christian/minlove <xxxxxx@xxxxxxx.xxx>
Subject: [microsound] searching resources for generative sound
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Hello,
As the subject of this e-mail mentioned, I'm searching for
resources
in context of generative sound.
Mainly i'm looking for articles (theory a.m.) and links to
patches
and other sources ( I'm working on a pc ).
Are there possiblities to connect (for example) MaxMsp with Java or Jogl
( http://jogl.dev.java.net/ ) ?
I know that there is a libary called Maxlink ( http://jklabs.net/maxlink/ )
that enables the communication between Processing ( www.processing.org
<http://www.processing.org/> )
and Max/MSP 4.5 on both Mac and Windows. May be there is also a tool
that does this job between Java / Jogl and Max.
Thanks in advance.
cm
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From ???@??? Mon Nov 15 09:05:57 2004
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Date: Mon, 15 Nov 2004 01:05:34 -0800 (PST)
From: Ivan Bachev <xxxxxxx@xxxxx.xxx>
Subject: [microsound] Request: Shared Aural Memories
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Shared, Recreated memories of sound environments
http://nml.cult.bg/aural_memories
Occurrences, places, happenings that left in our memories, with,
because of their specific sounds, sound environments.
Ask someone to tell you about his memories about sounds or sound
environments that are left in his mind, and recreate them.
Project aim is to support and stimulate the working in he field of the
sound design.
Prepare your works in the following format:
mp3/ogg 192kbit 44100Hz stereo/mono (you can participate with two or
more submissions)
and send URL/CD from where your works could be downloaded and then
added into the project base.
http://nml.cult.bg/aural_memories
Fill in the ID3 tag with, your name, information on the sound
environment reminiscence you have recreated, copyright information,
contact information.
Contact Ivan Bachev, xxxxxxx@xxxxx.xxx, Bulgaria, Yambol 8600, Bojadjik
str. 2a
=====
Ivan Bachev
Boyadjik str. 2a
Yambol 8600 Bulgaria
tel: + 359 46 259 04
e-mail: xxxxxxx@xxxxx.xxx
web: http://nml.cult.bg/~bachev
__________________________________
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From: meta <xxxx@xxxx.xx>
Subject: [microsound] // meta.am / - lall
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//m
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From: Thanos Chrysakis <xxxxxxxx@xxxxxxx.xx.xx>
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Greetings to all,
below some info on events that i participate.
Cities::Dresden, Ferrara, Milan.
<><><><><<><><><><<><><><><<><><><><><><><><><><><><><<<><>
CYNETart_04areale
17.-21.November 2004
8th festival of computer based art
Trans-Media-Academie of Hellerau
Dresden-Germany
http://www.body-bytes.de/tma/cynetart/+/cynetart_042.htm
http://www.body-bytes.de/tma/index.htm
<><><><><><><><><><><><><><><><><><><><><><><><><><><><><><
Biennale Internazionale di Ferrara - 11-19 December 2004, Castello
Estense - Ferrara, Italy
http://www.lucacurci.com/artexpo/home/events/video/buenos_aires_ferrara/inde
x.html
http://www.lucacurci.com/artexpo/home/events/video/buenos_aires_ferrara/arti
sts.html
<><><><><><><><><><><><><><<><><><><><><><><><><><><<><><><><><><><><>><><><
><><
7nth Generetive Art Conference/Exhibitions/Performances
15-16-17-Politechnico di Milano University-Milan-Italy
http://www.generativeart.com/call.htm
Best wishes,
Thanos
--Boundary_(ID_WGgiQddsNQ2/FlU/yXef1Q)--
From ???@??? Mon Nov 15 13:19:09 2004
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Date: Mon, 15 Nov 2004 23:18:35 +1000
From: nathan rogers <xxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] FW: [h3o-blah] the death of john balance
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>From: ru <xxxxxx@xxx.xx>
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>Subject: [h3o-blah] the death of john balance
>Date: Mon, 15 Nov 2004 10:19:27 +0000
>
>
>John Balance (1962–2004) died yesterday in an accident at his home.
>
>RIP
>
>http://www.thresholdhouse.com/itjustis.html
>
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From: Owen Green <x.x.xxxxx@xxxxxxxx.xxx>
Subject: Re: [microsound] searching resources for generative sound
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christian/minlove wrote:
> Are there possiblities to connect (for example) MaxMsp with Java
AFAIK, Max/Msp 4.5 has built-in support for Java and JavaScript.
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Date: Mon, 15 Nov 2004 08:57:45 -0500 (EST)
From: Neil Wiernik <xxxx@xxxxxxxx.xxx>
Subject: [microsound] phoniq presents U/CTRL TOUR nov 27 2004 MONTREAL
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FOR IMMEDIATE RELEASE
MEDIA CONTACT: xxxx@xxxxxx.xxx
saturday november 27 2004
phoniq hosts the montreal date of the U/CTRL tour
details:
U/CTRL MICRO-TOUR 2004 featuring:
ANDREW DUKE - BIP HOP RECORDS, COGNITION (HALIFAX)
NAW - NOISE FACTORY RECORDS (MONTREAL)
AKUMU - SPIDER RECORDS (TORONTO)
with special phoniq guest
CYAN [DJ] - CKUT RADIO (MONTREAL)
VISUALS BY HUGHES, SERIAL CONSIGN, NEIL WIERNIK
where:
La Salle D'attente / Esperanza
5490 St-Laurent Blvd
time: doors at 9pm
how much: $5 at the door
for more info visit:
www.phoniq.net
www.spiderrecords.com/uctrl
----------------------------------------------------
PRESS RELEASE
The inaugural U/CTRL Tour (November 20- 27, 2004) brings live electronic
music to eight Canadian cities in eight nights. Showcasing three of
Canada’s top laptop artists,
U/CTRL presents cutting-edge electronic music ranging from
ambient/glitch to IDM to deep, dubby techno, accompanied by original
video works.
U/CTRL performers Andrew Duke, NAW and Akumu are each accomplished independent
electronic artists with multiple releases and remixes on labels around the
world. Live, they produce customized sound environments for deep listening that
incorporate a variety of techniques, and improvisations. For U/CTRL, they will
perform live solo sets highlighting fresh material from new and upcoming
releases.
U/CTRL takes electronic music out of the clubs and studios and into bars, cafes
and gallery spaces across Ontario and Quebec, bringing new sounds to new
listeners.
----------------------------------------------------
BIOS/INFO
PHONIQ
www.phoniq.net
phoniq is a collective of individuals dedicated to promoting bleeding edge
electronic music/art in interesting variable environments, with an
emphasis on exposing aural and visual talent that has not yet been exposed
to the electronic arts communities of montreal and canada. we aim to
showcase upstart music producers, djs, and emerging visual artists all
working in electronic realms. our foremost goal is to showcase off the
wall and raw genres of music and visual electronic arts- not just those
that are currently "en vogue" or will be shortly.
the concept for phoniq came together through the chance meeting of 2
active members of the montreal/canadian electronic music and digital arts
community: ckut-fm dj/host cyan and dub glitch techno producer naw. phoniq
has grown out of the combined histories of these 2 individuals. naw brings
the clonk legacy that he created 6 years ago in toronto, which hosted such
artists as: monolake, kit clayton and sutekh. cyan brings her ongoing
involvement in community radio, event coordinating and
dj talents.
since then the collective has grown to include 5 core members
responsible for keeping things running. after a short 6 months phoniq has
grown from an idea of "how can we create a viable promotional vehicle for
canadian electronic artists", into a music series, an active community mailing
list/community forum, and in the coming months phoniq will relaunch its site
designed to act as a portal resource for the canadian electronic music
community which will include a net-label.
About the performers:
ANDREW DUKE
(www.cognitionaudioworks.com)
Producer, DJ and remixer (Chicks on Speed, Pink Floyd) whose international
releases have been praised in the Wire and Exclaim. His new CD is Dead Air
Alive on Montreal's PetiteSono Records.
NAW
(www.noisefactoryrecords.com)
a.k.a Neil Wiernik, joins the tour in support of his new full-length CD Green
Nights Orange Days (Noise Factory Records). Purveyor of experimental dub-tech
rhythms, sound design and manipulation, he has been a force in the Canadian
electronic, techno and ambient music scene for 10 years. A co-founder and
member of Montreal's Phoniq collective, he has just returned from a
European mini-tour.
AKUMU
(www.spiderrecords.com)
Ambient sounds and shadowy beats with digital video manipulations from
Toronto's Deane Hughes (Thrive/Alchemy). The latest Akumu CD, Fluxes
(Spider Records) was composed in Central America and has been compared to
Tim Hecker by Montreal's ICI magazine and called "soundtrack to an
imaginary David Cronenberg Movie" by Toronto's eye weekly.
CYAN
(www.traktion.com)
cyan has been a regular of montreal's independent airwaves since 1996 and
currently co-hosts modular systems on ckut 90.3 fm. one of the founding members
of the phoniq collective, her dj sets can vary from minimal, dub and
glitch sounds to deep detroit inspired techno rhythms.
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From ???@??? Mon Nov 15 14:00:47 2004
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From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] searching resources for generative sound
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Owen Green wrote:
> christian/minlove wrote:
>
>> Are there possiblities to connect (for example) MaxMsp with Java
>
>
> AFAIK, Max/Msp 4.5 has built-in support for Java and JavaScript.
And AFAIK, OSC [Open Sound Control] can be used to communicate between a
very wide range of applications, including Proce55ing, MAX, Pure Data,
SuperCollider, Flash, Reaktor and others. It's an open standard, and I
think more apps will be picking it up as time goes on.
d.
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 177:
"What is the reality of the situation?"
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From ???@??? Mon Nov 15 15:34:20 2004
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Date: Mon, 15 Nov 2004 10:34:15 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: re: [microsound] DVD audio?
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> Am 14.11.2004 17:30 Uhr schrieb "tobias c. van Veen" unter
> <xxxxxx@xxxxxx.xx>:
>
>> the Skoltz_Kolgen work (which is incredible)
>
> i'm not aware of any skoltz_kolgen release on dvd...
> tobias, do you have a link to the label that released this?
> thx, ralph.
>
Hmm I think you're right, perhaps this has only seen CD?
http://www.notype.com/drones/cat.e/mtk_fab02.html
I was under the impression this was to be on DVD shortly.. I'll find out.
Here's some info on their process software, LoeeFrek, btw:
http://www.praguebiennale.org/artists/improvisual/kolgen.php
tV
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
ICQ: 18766209 | AIM: thesaibot +++
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Date: Mon, 15 Nov 2004 10:39:50 -0500 (EST)
From: Neil Wiernik <xxxx@xxxxxxxx.xxx>
Subject: [microsound] naw toronto release party date corrected...
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It appears like I might have caused you all some confusion about the
release date it is indeed on NOV 19 2004 and not in oct... thanks and
SORRY FOR ANY DOUBLES
SYNCRO FRIDAYS PRESENTS
NOVEMBER 19 2004
naw (Montreal, Noise Factory Records)
LIVE P.A. + RELEASE PARTY for Green Nights Orange Days
Montreal's Neil Wiernik (a.k.a. naw) has been an instrumental force in
the Canadian electronic, techno, experimental and ambient music scene for
the past 10 years. Known to push the boundaries of his musical form, naw
has released on labels including Noise Factory, Complot, Clevermusic,
Piehead, and A/S Systems. With the new Green Nights Orange Days, naw has
come into his own sound, blending dub-tech rhythms with gorgeous
abstractions and heavy-hitting beats. Here, he crafts a special, steadily
building live P.A., aimed at our hearts, brains and bodies.
Expect to be moved.
www.noisefactoryrecords.com
Live P.A. begins at 11:30pm.
NO COVER.
at
Andy Poolhall
489 College Street
416.923.5300
resident DJs
DENISE BENSON savour. CKLN `Mental Chatter'
+ ANDREW ALLSGOOD fascination. CKLN 'Bruckbeat Radio'
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From ???@??? Mon Nov 15 16:32:33 2004
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From: Yatra Arts <xxxxx-xxxx@xxxxxx.xx>
Subject: [microsound] John Balance
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John Balance of COIL RIP
very sad news.
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From ???@??? Mon Nov 15 16:58:27 2004
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From: dave <xxxx@xxxxxxxx.xxx>
Subject: Re: [microsound] John Balance
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where is the news from ?...
----- Original Message -----
From: "Yatra Arts" <xxxxx-xxxx@xxxxxx.xx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, November 15, 2004 4:32 PM
Subject: [microsound] John Balance
John Balance of COIL RIP
very sad news.
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From: dave <xxxx@xxxxxxxx.xxx>
Subject: Re: [microsound] John Balance ignore my last post pls
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please ignore... my last post
----- Original Message -----
From: "dave" <xxxx@xxxxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, November 15, 2004 5:03 PM
Subject: Re: [microsound] John Balance
> where is the news from ?...
> ----- Original Message -----
> From: "Yatra Arts" <xxxxx-xxxx@xxxxxx.xx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Monday, November 15, 2004 4:32 PM
> Subject: [microsound] John Balance
>
>
> John Balance of COIL RIP
>
> very sad news.
>
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From ???@??? Mon Nov 15 17:23:07 2004
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Date: Mon, 15 Nov 2004 18:18:58 +0100
From: TeZ SUBMULTIMEDIA <xxx@xxxxxxxxxxxxx.xx>
Subject: [microsound] Re: Madrid Microsounders
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Hi G,
check also ROTOR
http://www.geometrikrecords.com/rotor.php3
Si vives en Madrid, puedes visitar nuestra tienda en pleno centro: *GRAN VIA, 40. 6º pta.* Junto a CALLAO frente al cine Avenida ...y si no vives aquí y pasas por Madrid, no dejes de visitarnos,
estaremos encantados de saludarte. Además en la tienda podrás escuchar
previamente los discos antes de comprar."
*Horario:*
Mañanas de 10:00 a 14:00 y Tardes de 17:00 a 20:30.
Sábados de 11:00 a 14:00
fax: +34 91 521 94 01.
tel: +34 91 522 73 83.
ciao :::TeZ:::
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Subject: re: [microsound] DVD audio?
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FILETIME=[408E8ED0:01C4CB3B]
i think that they are going to release silent room on dvd at some point.
which is incredible.
the reason that there is not more work on dvd and dvd-a is $$$.
>
> > Am 14.11.2004 17:30 Uhr schrieb "tobias c. van Veen" unter
> > <xxxxxx@xxxxxx.xx>:
> >
> >> the Skoltz_Kolgen work (which is incredible)
> >
> > i'm not aware of any skoltz_kolgen release on dvd...
> > tobias, do you have a link to the label that released this?
> > thx, ralph.
> >
>
>Hmm I think you're right, perhaps this has only seen CD?
> http://www.notype.com/drones/cat.e/mtk_fab02.html
>
>I was under the impression this was to be on DVD shortly.. I'll find out.
>
>
>Here's some info on their process software, LoeeFrek, btw:
> http://www.praguebiennale.org/artists/improvisual/kolgen.php
>
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FILETIME=[CC03BD90:01C4CB3C]
the site takes a very long time to load.
they also have a 10 minute piece on the volt-aa 2xcd comp on oral records
www.oral.qc.ca
>
>I wasn't aware that there was anything else available at all other than
>the release on 12k/Line...
>
>And for some reason, I've always had trouble entering their website
>and don't know if they have any other audio releases or not.
>If so, I would be very interested in knowing what they are... :-)
>
>I really like their mp3 for the Fallt Invisible Cities project as well.
>
>Cheers, Dale
>
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From ???@??? Mon Nov 15 20:56:12 2004
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Date: Mon, 15 Nov 2004 16:01:22 -0500
From: Ben <xxxx@xxxxxxxxxx.xxx>
Subject: [microsound] How To Be A Canadian at Eyebeam
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more info regarding Skoltz-Kolgen, a live performance in NYC.
Begin forwarded message:
> From: Eyebeam Info <xxxx@xxxxxxx.xxx>
>
>
>
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more info regarding Skoltz-Kolgen, a live performance in NYC.
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>
>
>
>
>
>
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> How To Be A Canadian
> curated by Astria Suparak and Brett Kashmere
>
> November 16, 2004, 8:00pm
> 540 W. 21st Street (between 10th & 11th Aves) NYC
>
> Canuk curators Astria Suparak and Brett Kashmere want to trade in
> your MTV, Madonna, Mister Rogers and melting pot for Much Music,
> Alanis Morisette, Mr. Dressup and government-mandated
> multiculturalism. Eyebeam’s Panorama screening series third
> installment looks at experimental and underground film/video makers
> from the Great White North. Featuring recent work by Daniel Barrow and
> the Hidden Cameras, Kara Blake, Shary Boyle and Peaches, Jubal Brown,
> Paige Gratland, Jake Kennedy, Jim Munroe, Jon Sasaki, Tom Sherman,
> Jeremy Bailey, Daniel Cockburn and Dorion Berg, How To Be A Canadian
> challenges traditional representations of the peaceful and
> sportsmanlike Canadian by utilizing artistic (re)enactment,
> telepathetic aesthetics, manual animation, performance and low-end
> high technologies.
>
> Following the screening, Québécois AV duo Skoltz_Kolgen will perform
> Fluux:/Terminal v.4, a live audio visual performance that explores
> the charged energy between the worlds of sound and vision. Over the
> last 8 years, SK has defined a creative process that explores subtle
> variations between sound and image frequencies, imposing the logic of
> one on the presentation of the other, resulting in multiple
> variations in idifferent mediums. The process has already given birth
> to a feature film Silent Room, premiered at the NY Video Festival,
> live performances at venues such as Mutek and Ars Electronica, and two
> albums.
>
> For more information on How To Be A Canadian and a complete screening
> schedule please visit our web site. This event is free to the public
> with a suggested donation.
>
>
>
>
>
>
> f you would like to unsubscribe from the Eyebeam email list please
> send an email to xxxx@xxxxxxx.xxx. To join this list, please visit
> our web site and complete the online form.
>
>
>
www.seasonalbk.net
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<excerpt><bold>How To Be A Canadian</bold>
<bold> curated by Astria Suparak and Brett Kashmere</bold>
<bold> November 16, 2004, 8:00pm</bold>
<bold> 540 W. 21st Street (between 10th & 11th Aves) NYC</bold>
Canuk curators Astria Suparak and Brett Kashmere want to trade in
your MTV, Madonna, Mister Rogers and melting pot for Much Music,
Alanis Morisette, Mr. Dressup and government-mandated
multiculturalism. Eyebeam’s Panorama screening series third
installment looks at experimental and underground film/video makers
from the Great White North. Featuring recent work by Daniel Barrow and
the Hidden Cameras, Kara Blake, Shary Boyle and Peaches, Jubal Brown,
Paige Gratland, Jake Kennedy, Jim Munroe, Jon Sasaki, Tom Sherman,
Jeremy Bailey, Daniel Cockburn and Dorion Berg, How To Be A Canadian
challenges traditional representations of the peaceful and
sportsmanlike Canadian by utilizing artistic (re)enactment,
telepathetic aesthetics, manual animation, performance and low-end
high technologies.
Following the screening, Québécois AV duo Skoltz_Kolgen will perform
Fluux:/Terminal v.4, a live audio visual performance that explores
the charged energy between the worlds of sound and vision. Over the
last 8 years, SK has defined a creative process that explores subtle
variations between sound and image frequencies, imposing the logic of
one on the presentation of the other, resulting in multiple
variations in idifferent mediums. The process has already given birth
to a feature film Silent Room, premiered at the NY Video Festival,
live performances at venues such as Mutek and Ars Electronica, and two
albums.
For more information on How To Be A Canadian and a complete screening
schedule please visit our<color><param>0000,0000,EEEE</param> web
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From ???@??? Mon Nov 15 21:00:50 2004
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Date: Mon, 15 Nov 2004 22:01:30 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
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Hi,
christian/minlove wrote:
>
> Are there possiblities to connect (for example) MaxMsp with Java or Jogl
> ( http://jogl.dev.java.net/ ) ?
>
OpenGL can be addressed direct in Jitter.
I work in the field of generative sound, involving graphical realtime
algorhythms to create sound in live and exhibition context. See for
instance
http://www.elektronengehirn.de/cellLab.htm
A good place for hearing generative pieces is
http://www.r4nd.org/
I got a piece created with pd running there.
Cheers,
Malte
--
Malte Steiner
media art + development
-www.block4.com-
blog 4, also available as rss feed:
http://java.block4.com/blog4/
next events:
26.november workshop 3d modelling for max/msp jitter
Musikhochschule Hamburg, Germany
26.november concert Elektronengehirn
hoerbar Hamburg, Germany
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http://www.zh27.net/clan/
this is run by zan hoffman., and it has tons of noise links
-t
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From: th_ost <xxxxxx@xxx.xxx>
Subject: Re: [microsound] John Balance
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sad, sad news!
coil have been so influential and inspirational to me. an extraordinary artist and individual has gone.
still shivering,
tomoroh hidari
°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego
http://www.tomoroh.com/
http://www.stiege44.com/
http://www.skug.at/
>> necro'phon'i'con (from Greek: Necros- dead, phon- sound, icon -picture, representation; the book of dead sounds, or the image of dead sounds) a standard reference work for the acoustic oddities of pulp-occultist lore. made mostly from fragments of killed sounds, a franken- meets wittgenstein-ian creation playing duelling banjos with all dsp available but no banjos....
°°°°°
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Date: Mon, 15 Nov 2004 17:01:04 -0800 (PST)
From: Dale Lloyd <xxxxx@xxx-xxx.xxx>
Subject: Re: [microsound] DVD audio?
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Thanks Nathan.
Geez, am I the only one balking at the prices of CD/CDR releases
lately? For example: $20USD/$25CAD for the single CD Skoltz_Kolgen release... Sure, shipping is included but...
And then the double disc Oral comp with S_K is the same price with
shipping added at around $6.00 ($26.00 total)...
I'm sorry,but do people really want their music to be heard/bought or what? :-) No wonder there was a discussion a while back regarding the
drop in sales of experimental music... who can afford to *experiment*
with those kind of prices...? Get real folks.
Best, Dale
"Nathan. McNinch" <xxxxxxxxxxx@xxxxxxx.xxx> wrote:
the site takes a very long time to load.
they also have a 10 minute piece on the volt-aa 2xcd comp on oral records
www.oral.qc.ca
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Date: Mon, 15 Nov 2004 20:03:34 -0500
From: Al C <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound]O.D.B.- R.I.P.
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on 11/15/04 11:32 AM, Yatra Arts at xxxxx-xxxx@xxxxxx.xx wrote:
> John Balance of COIL RIP
>
> very sad news.
>
Also, Ole' Dirty Bastard/Dirt McGirt/Big Baby Jesus of Wu-Tang Clan fame
died today in a recording studio in Nyc.
Shimmy-Shimmy-Ya,
omnid
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Date: Mon, 15 Nov 2004 18:55:24 -0800
From: Thom Blum <xxxx@xxxxxxxxxx.xxx>
Subject: [microsound] Electric Pacific 2004: Electro-Acoustic Music Concert
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CONCERT OF ELECTRO-ACOUSTIC MUSIC
Thursday
November 18, 2004
7:30 pm
San Jose State University Concert Hall
The Center for Research in Electro-Acoustic Music presents
“Electric Pacific 2004: Music for Digital Media”
A concert of electro-acoustic music, Thursday, November 18, 2003, 7:30
pm, in the Music Concert Hall on the San Jose State University campus.
This concert is presented in conjunction with the 20th anniversary of
the Society for Electro-Acoustic Music in the United States [SEAMUS] and
the nationwide Electro-Acoustic Music Month celebration (November 2004).
The concert includes music composed and realized by Thom Blum, Kristine
Burns, Michael Drews, Robert Frank, David Heuser, Konstantinos
Karathanasis, Panayiotis Kokoras, Mike McFerron, Jon C. Nelson, Maggi
Payne, Judith Shatin, Paul Thomas, Kirsten Volness, Hsiao-Lan Wang, and
John Young. These works were selected from over 250 compositions
submitted for review.
Concert admission is $12 ($8 students and seniors), with tickets
available at the door. Parking is available at the 7th Street Parking
Garage on campus. Single day and hourly permits are available from the
automated pay stations located in our South (7th Street) Garage or North
(10 th Street) Garage. The pay stations accept coins, $1, $5, and $10
bills (1 hr. is $2.00; 2 hrs. is $4.00 or All day is $8.00).
For additional information, please contact:
Dr. Brian Belet
Director, Center for Research in Electro-Acoustic Music
SJSU
408/924-4632
xxxxxxxxxx@xxxxxxxxx.xxx
SJSU Campus map: http://www.sjsu.edu/campusmap/map.html#mainmap
Music Building = #43
Parking Garage = #30
Directions to SJSU: http://www.sjsu.edu/directions.html
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Date: Tue, 16 Nov 2004 15:55:32 +1100
From: Ian Andrews <x.xxxxxxx@xxxxxxxxxxx.xxx.xx>
Subject: Re: [microsound] searching resources for generative sound
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Malte Steinerwrote:
> Hi,
>
> christian/minlove wrote:
>
>>
>> Are there possiblities to connect (for example) MaxMsp with Java or Jogl
>> ( http://jogl.dev.java.net/ ) ?
>>
> OpenGL can be addressed direct in Jitter.
> I work in the field of generative sound, involving graphical realtime
> algorhythms to create sound in live and exhibition context. See for
> instance
>
> http://www.elektronengehirn.de/cellLab.htm
>
> A good place for hearing generative pieces is
> http://www.r4nd.org/
>
for a slightly different approach look at:
http://radioscopia.org/radiohack/
http://radioscopia.org/points/points.swf
http://radioscopia.org/
ian
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From ???@??? Tue Nov 16 06:37:56 2004
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From: "jan.l" <xxx@xxxxx-xxx.xxx>
Subject: Re: [microsound] DVD audio?
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Maybe they are non-US releases? A bigger (or smaller) part of an
explanation may be that the US dollar has lost some 30% of its value
against stronger currencies.
/JL
2004-11-16 kl. 02.01 skrev Dale Lloyd:
> Thanks Nathan.
> Geez, am I the only one balking at the prices of CD/CDR releases
> lately? For example: $20USD/$25CAD for the single CD Skoltz_Kolgen
> release... Sure, shipping is included but...
>
> And then the double disc Oral comp with S_K is the same price with
> shipping added at around $6.00 ($26.00 total)...
>
> I'm sorry,but do people really want their music to be heard/bought or
> what? :-) No wonder there was a discussion a while back regarding the
> drop in sales of experimental music... who can afford to *experiment*
> with those kind of prices...? Get real folks.
>
> Best, Dale
>
>
>
>
>
>
>
>
>
>
> "Nathan. McNinch" <xxxxxxxxxxx@xxxxxxx.xxx> wrote:
>
> the site takes a very long time to load.
>
> they also have a 10 minute piece on the volt-aa 2xcd comp on oral
> records
> www.oral.qc.ca
>
>
>
>
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> "jan.l" <xxx@xxxxx-xxx.xxx> wrote:
> Maybe they are non-US releases? A bigger (or smaller) part of an
> explanation may be that the US dollar has lost some 30% of its value
> against stronger currencies.
Nope, not really. Hence the $20 USD/$25 CAD currency conversion
I refered to in regard to the Skoltz_Kolgen-related releases.
Believe me, I'm well aware of state of the USD versus other currencies.
Some people are just asking a bit more than others for whatever reason.
I downloaded the S_K mp3 from the Oral site. It appears to be the
entire track. Very good!
And many thanks to the folks at Oral for the mp3!
Best, Dale
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Subject: [microsound] "Interesting Results"
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"Interesting Results" Music By A Committee Of One, or, ³I Feel Like I¹m
A-Fixin¹ To DIY²
Sonic Arts Network is pleased to announce the release of the latest in its
acclaimed series of individually curated CD-publications. ³Interesting
Results² was compiled and annotated by Irwin Chusid, a self-described
"landmark preservationist," who finds things on the scrap-heap of musical
history that he knows don't belong there, and salvages them. He launched the
Raymond Scott and Esquivel revivals by producing CD reissues of those
maestros, and has long managed the business affairs of both composers (now
deceased). He codified a new musical genre with his first book, Songs in the
Key of Z: The Curious Universe of Outsider Music (2000, Cherry Red Books),
and produced two companion CDs of the same title (also Cherry Red). In 2001,
Chusid produced The Langley Schools Music Project, which became an
unexpected sensation - it reached #1 on Amazon.com and was the subject of a
VH-1 documentary. His new book is The Mischievous Art of Jim Flora
(Fantagraphics). Since 1975, Chusid has hosted a weekly free-form radio
program on WFMU (wfmu.org).
³Interesting Results² celebrates the individual. Do-It-Yourself has always
been with us. Before assembly lines, clocks and shoes were made by artisans,
one at a time. Ambitious amateur musicians have made and released records
independently since the advent of 78 rpm discs. However, in the 1970s, with
the emergence of the consumer cassette revolution, DIY became a
philosophical phenomenon. Since that decade, as technology developed and the
cost of studio gear plummeted, the playing field for recording artists has
levelled. What once entailed a lengthy, complex and expensive process can
now be done on the quick and cheap, and, often, in solitude. This doesn't
mean all bedsitter recordings will get heard - but they exist. We just have
to find them - and find time to listen.
The CD-publication features exclusive tracks from Peter Grudzien, ³Shooby²
Taylor ŒThe Human Horn¹, Lucia Pamela, B.J. Snowden, R. Stevie Moore, Ariel
Pink, Harry Merry and other extraordinary artists. In keeping with the DIY
aesthetic of the publication the booklet includes special Œcut out and
assemble¹ figures of the artists as well as detailed track notes by the
curator.
³Interesting Results² is available now from Sonic Arts Network for £15 or,
for greater value, we recommend becoming a member of Sonic Arts Network and
receiving this publication and the next two in the series over the next 12
months.
www.sonicartsnetwork.org
www.wfmu.org/irwin/
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Subject: Re: [microsound] searching resources for generative sound
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Malte Steiner wrote:
> christian/minlove wrote:
>> Are there possiblities to connect (for example) MaxMsp with Java or
>> Jogl ( http://jogl.dev.java.net/ ) ?
>>
> OpenGL can be addressed direct in Jitter.
OpenGL graphics can also be programmed in GEM [all platforms] and PDP
[Linux, OSX] for Pure Data. In case you don't want to buy a Jitter license.
d.
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy #62:
"Don't be frightened to display your talents"
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FILETIME=[404FCD50:01C4CBD9]
the whole concept of attaching a monetary value to a work of art is quite
curious. Personally, i think that if a 'price' must be put on a work, then
$20 seems to be amazingly cheap for an artistic expression of someones
innermost.
(especially when viewed in relation to the price of meaningless everyday
commodities)
>>Geez, am I the only one balking at the prices of CD/CDR releases
>>lately? For example: $20USD/$25CAD for the single CD Skoltz_Kolgen
>>release... Sure, shipping is included but...
>>
>>And then the double disc Oral comp with S_K is the same price with
>>shipping added at around $6.00 ($26.00 total)...
>>
>>I'm sorry,but do people really want their music to be heard/bought or
>>what? :-) No wonder there was a discussion a while back regarding the
>>drop in sales of experimental music... who can afford to *experiment*
>>with those kind of prices...? Get real folks.
>>
>>Best, Dale
>>
_________________________________________________________________
Express yourself with cool new emoticons http://www.msn.co.uk/specials/myemo
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Subject: Re: [microsound] WIRED: new Linux sequencer/editor
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well,
i have to admit that it got a nice look,
but it crashes just a hundred times in 5 minutes of
use,.....and ehmm...well..thats not what i want to use
for working.
but as it is still 0.1 im curious what will be there in the next months...
just have an eye on it.
rnlx
At 14:37 13.11.2004, you wrote:
>One misconception about doing audio on Linux is the lack "user friendly"
>music apps. I don't think that Wired is as professional and complex a
>program as Ardour (Pro-Tools style multi track recording), for example,
>but for the Live headz and the drag-and-drop crowd out there, this could
>some day inspire ditching windoze (at least) and trying out the free
>software world. Hope this makes it in to Dynebolic soon!
>
>http://bloodshed.net/wired/
>
>d.
>
>--
>derek holzer ::: http://www.umatic.nl
>---Oblique Strategy # 194:
>"Steal a solution."
>
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>
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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] Nov 17 Lisbon Portugal - workshop presentation and concert
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______________________________________________________
Emergent Content Creation >> WORKSHOP PUBLIC PRESENTATION
______________________________________________________
WEDNESDAY, NOVEMBER 17
______________________________________________________
18:00 - Workshop PUBLIC Presentation
Will be presented the results of “ Content Creation Using Simple
Genetic Algorithm “.
The participant envolved are:
Diogo Valério
Nuno Morão
Ricardo Guerreiro
Fernando Fadigas
Rui Leitão
Paulo Machado
Filipe Esteves
-
ATMOFERAS, Casa Amarela,
Rua da Boavista, 102 - Lisbon, Portugal
______________________________________________________
22:30 - Live Performances:
Kim Cascone
+
Allto. “subtle resonances #1 –the audience”
-
Galeria ZDB
Rua da Barroca, 59 – Bairro Alto – Lisbon, Portugal
______________________________________________________
Support:
______________________________________________________
Atmosferas.net <www.atmosferas.net>
-
Galeria Zdb <www.zedosbois.org>
______________________________________________________
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From: Igor Medeiros <xxxxxx@xxxxxxx.xxx>
Subject: [microsound] linux microsound appz
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FILETIME=[ABC2B5E0:01C4CBFF]
well i´m new to linux, trying to find interesting software...
which ones do you use? generative midi sequencers?
wired seems very interesting...
anyone running supercollider on linux? on pc?
ah and did someone tried dynebolic?
thx in advance
igor
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Date: Tue, 16 Nov 2004 11:13:42 -0600
From: Chad Munson <xxxxxxx@xxxxxxx.xxx>
Subject: [microsound] Jhonn Balance RIP (Coil co-founder)
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FILETIME=[B0243B40:01C4CBFF]
Taken From Threshhold House:
We are greatly saddened to have to you that at about 5.30 pm Saturday Nov
13th, Jhonn Balance, was killed in an accident at home.
Under the influence of alcohol he fell from the first floor landing, hitting
his head on the floor some 15ft below.
Peter/Sleazy who was in the front room heard the noise, came out investigate
and found him unconscious, though still breathing.
Balance was rushed to hospital, where his condition deteriorated, and he
died soon after, without ever regaining consciousness.
There is no suggestion that this event was in any way deliberate, in fact,
anything other than a tragic accident.
Unusually, Balance had been cheerfull during the day, and was looking
forward to seeing Ian at the weekend, and working on new recordings this
week.
* * *
Our awareness that physical death is not an end, but mearly a transition to
a whole different part of existence, a new adventure, should by now be clear
to everyone.
Jhonn has simply crossed over the Threshold...
As Thomas Olson wrote this morning: "Listening to some Coil songs now, and
they are all sounding to me now as if they were written for this moment...."
Nevertheless the parting will be hard for us all. Fortunately there is much
to be done that will keep us busy in the next few difficult weeks.
Chad Munson (foal)
http://www.notype.com/nishi/releases/19/index.html
www.foal.ca
www.Cognitionaudioworks.com
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Date: Tue, 16 Nov 2004 17:21:55 +0000
From: Igor Medeiros <xxxxxx@xxxxxxx.xxx>
Subject: [microsound] linux microsound appz
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FILETIME=[CA6353F0:01C4CC00]
well i´m new to linux, trying to find interesting software...
which ones do you use? generative midi sequencers?
wired seems very interesting...
anyone running supercollider on linux? on pc?
ah and did someone tried dynebolic?
thx in advance
igor
_________________________________________________________________
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Date: Tue, 16 Nov 2004 11:46:52 -0600
From: Chad Munson <xxxxxxx@xxxxxxx.xxx>
Subject: [microsound] Jhonn Balance RIP
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FILETIME=[48EB6B60:01C4CC04]
Taken From Threshhold House:
We are greatly saddened to have to you that at about 5.30 pm Saturday Nov
13th, Jhonn Balance, was killed in an accident at home.
Under the influence of alcohol he fell from the first floor landing, hitting
his head on the floor some 15ft below.
Peter/Sleazy who was in the front room heard the noise, came out investigate
and found him unconscious, though still breathing.
Balance was rushed to hospital, where his condition deteriorated, and he
died soon after, without ever regaining consciousness.
There is no suggestion that this event was in any way deliberate, in fact,
anything other than a tragic accident.
Unusually, Balance had been cheerfull during the day, and was looking
forward to seeing Ian at the weekend, and working on new recordings this
week.
* * *
Our awareness that physical death is not an end, but mearly a transition to
a whole different part of existence, a new adventure, should by now be clear
to everyone.
Jhonn has simply crossed over the Threshold...
As Thomas Olson wrote this morning: "Listening to some Coil songs now, and
they are all sounding to me now as if they were written for this moment...."
Nevertheless the parting will be hard for us all. Fortunately there is much
to be done that will keep us busy in the next few difficult weeks.
Chad Munson (foal)
http://www.notype.com/nishi/releases/19/index.html
www.foal.ca
www.Cognitionaudioworks.com
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Date: Tue, 16 Nov 2004 10:14:48 -0800 (PST)
From: David Kendall <xxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] linux microsound appz
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I have always liked Pure Data (Pd). I have only used it on Mac OS X and
Windows operating systems, but I know that linux users are also very fond
of the software. It is supposed to work very well on linux operating
systems.
www-crca.ucsd.edu/~msp/
,d.
On Tue, 16 Nov 2004, Igor Medeiros wrote:
> well i´m new to linux, trying to find interesting software...
> which ones do you use? generative midi sequencers?
> wired seems very interesting...
> anyone running supercollider on linux? on pc?
> ah and did someone tried dynebolic?
>
> thx in advance
> igor
>
> _________________________________________________________________
> MSN Hotmail, o maior webmail do Brasil. http://www.hotmail.com
>
>
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>
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Date: Tue, 16 Nov 2004 11:29:32 -0800
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Subject: [microsound] music and language
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http://www.nature.com/news/2004/041108/full/041108-12.html
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From ???@??? Tue Nov 16 19:41:03 2004
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Date: Tue, 16 Nov 2004 20:41:55 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] linux microsound appz
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this list might be interesting for you:
http://microsound.nexthop.net/bin/view.cgi/Main/LinuxSoftware
Cheers,
Malte
--
Malte Steiner
media art + development
-www.block4.com-
blog 4, also available as rss feed:
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next events:
26.november workshop 3d modelling for max/msp jitter
Musikhochschule Hamburg, Germany
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hoerbar Hamburg, Germany
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Subject: Re: [microsound] linux microsound appz
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a certain "Igor Medeiros" <xxxxxx@xxxxxxx.xxx> wrote:
> well i´m new to linux, trying to find interesting software...
> which ones do you use? generative midi sequencers?
> wired seems very interesting...
> anyone running supercollider on linux? on pc?
> ah and did someone tried dynebolic?
>
> thx in advance
> igor
>
you can find almost everything available here: http://linux-sound.org .
m
--
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hear me here: http://www.mprims.tk
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hear me here: http://www.mprims.tk
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you most definitely want to check out
Stanford's PLanet CCRMA for
a taste of Linux software
http://ccrma.stanford.edu/planetccrma/software/
--
albert ortega
xxxxxxxxxxx@xxxxxx.xxx - email
-----Original Message-----
From: David Kendall <xxxxxxxx@xxxxxxx.xxx>
Sent: Tue, 16 Nov 2004 10:14:48 -0800 (PST)
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] linux microsound appz
I have always liked Pure Data (Pd). I have only used it on Mac OS X and
Windows operating systems, but I know that linux users are also very fond
of the software. It is supposed to work very well on linux operating
systems.
www-crca.ucsd.edu/~msp/
,d.
On Tue, 16 Nov 2004, Igor Medeiros wrote:
> well i´m new to linux, trying to find interesting software...
> which ones do you use? generative midi sequencers?
> wired seems very interesting...
> anyone running supercollider on linux? on pc?
> ah and did someone tried dynebolic?
>
> thx in advance
> igor
>
> _________________________________________________________________
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From ???@??? Tue Nov 16 21:28:48 2004
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From: John Nowak <xxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] linux microsound appz
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Pure Data and Supercollider should be all you need. Which one you use
more will depend on personal preference for the most part, unless you
want to do video (which only PD can do) or you're obsessed with
spawning objects in real time (which SC does a lot better). No offense
intended to those developing other softwares. ;-)
- John
On Nov 16, 2004, at 12:13 PM, Igor Medeiros wrote:
> well i´m new to linux, trying to find interesting software...
> which ones do you use? generative midi sequencers?
> wired seems very interesting...
> anyone running supercollider on linux? on pc?
> ah and did someone tried dynebolic?
>
> thx in advance
> igor
>
> _________________________________________________________________
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From: ". m u r m e r ." <xxxxxx@xxxxxx.xxx>
Subject: [microsound] [playlist] framework - 12.11.04
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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: 19.11.04
~ 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
working our way through our pile of sounds, we concentrated on multiple tracks from just a few discs in this edition, taking in several works from the excellent maurice blanchot dedicated compilation on sirr-ecords, me noli legere, and discovering what the two discs of marc behrens and francisco lopez's collaborative double cd release a szellem alma sound like played together. we also sampled another of james dunn's vlf recordings, the brume/tbc half of their split with mnortham (we listened to mnortham's half last time), and new sounds from vitor joaquim.
our next edition, coming up this friday, is the next in our framework:focus series, focusing this time on marc behrens' architectural commentaries series of compositions - we will be exploring the compositions, their source recordings, and getting some insight into them from the artist himself. the broadcast will finish with the world premiere of architectural commentaries 5 (some models for resonant behaviour), composed entirely from sounds of the resonancefm studios themselves!
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
--------------------------------------------------------------------------------
29.10.04
this edition will be rebroadcast this wednesday, 17.11.04, at 11:00am gmt
(artist / title / album / label)
framework intro / keith de mendonca
another intro from this prolific contributor, this time walking through horseguard's parade
http://www.dismbody.demon.co.uk/home.html
paulo raposo / the one who is standing apart from me / noli me legere ...to maurice blanchot (compilation) / sirr-ecords
a mix of crowds, scrapings, tappings, tones and songs
http://www.sirr-ecords.com/pauloraposo, http://www.sirr-ecords.com
vitor joaquim / - / a rose is a rose / doc
a long, slowly drifting, and watery untitled track from a new album by this long-active portuguese composer
http://joaquim.emf.org, http://doc.test.at
james dunn / field near cottage / vlf field recordings, cwm cowarch / -
another vlf recording captured on homemade equipment by london and resonance's own james dunn
xxxxxxx@xxxxx.xx.xx
christof migone / I / noli me legere ...to maurice blanchot (compilation) / sirr
composed entirely from sounds produced by the manipulation of the eyeballs of alex thibodeau - mmm, squishy
http://www.christofmigone.com, http://www.sirr-ecords.com
marc behrens / - / a szellem alma / absolute
unidentifiable (and unrevealed) sources breath heavily, stutter and click, as their counterpart slowly arrives...
http://www.mbehrens.com, http://www.absolutesound.net
francisco lopez / - / a szellem alma / absolute
....bringing more crackling electricity and solar winds to the equation
http://www.franciscolopez.net, http://www.absolutesound.net
toshiya tsunoda / cicada chorus resonating a bottle inside of a bottle / noli me legere ...to maurice blanchot (compilation) / sirr
exactly what it says on the tin, sounding remarkably electronic, and recorded 17.08.01 in matsuwa, miura city, kanagawa japan
http://www.sirr-ecords.com
brume & tbc / - / strandwasser ozean remix / -
subterranean creaking and groaning make way for harsher distorted sound constructions
xxxxxx@xxx-xx.xxx
stephen vitiello / essential perversions / noli me legere ...to maurice blanchot (compilation) / sirr
mildly treated crowd recordings from demonstrations and/or parades - laughter, whistles, car horns, megaphones...
http://www.stephenvitiello.com, http://www.sirr-ecords.com
--------------------------------------------------------------------------------
framework intro submissions:
1) take yourself and an audio recording device to a location of your choice
2) record for AT LEAST 1 minute before you -
3) read the following text:
welcome to framework.
framework is a show consecrated to field recording, and it's use in composition.
field recording, phonography, the art of sound-hunting; open your ears and listen!
4) continue your recording for AT LEAST 2 minutes after you've finish speaking
5) send the recording on any format to the address above, or as an mp3 via email
thanks!
--------------------------------------------------------------------------------
the framework 2003 cd has been reprinted and is now once again available directly from the resonancefm online shop, along with a selection of other benefit cds, t-shirts, and general paraphernalia. drop in here to have a look:
http://www.resonancefm.com/shop.php
framework 2003
resonancefm benefit cd featuring highlights from the year's broadcasting
rob grant & melanie clifford / framework intro
thomas dimuzio / unearth & lift and spear / sonicism / rrrecords
chris watson / river mara at night / stepping into the dark / touch
johannes helden / - / sketchbook / trente oiseaux
toy bizarre / - / kdi dctb 116 / absurd
murmer / liquid solid / definition / absurd
jgrzinich & seth nehil / the distant edge / confluence / intransitive
seth nehil & jgrzinich / the mirrored corner / stria / erewhon
annette lissauer / framework intro
toby paddock / air, surface and magnetic vibrations / - / -
steve roden / - / resonant cities / trente oiseaux
francisco lopez / untitled #101 / untitled (2000) / ignis projekt
mnortham / ancient sewer pipe, valletta, malta / phonography.org 5 / phonography.org
the quiet american / donkey trains leaving marpha, nepal / phonography.org 4 / phonography.org
steve barsotti / trainyard presence / phonography.org 5 / phonography.org
k. m. krebs / jericho sailing center (nautical gamelan) / phonography.org 4 / phonography.org
david daniell / highway 371, forty miles south of farmington, january 19, 1998, 2:25 pm / sem / antiopic
joyce hinterding / - / spectral / antiopic/sigma editions
david daniell / dixon lake road, july 31, 1999, 5:45 am / sem / antiopic
tacet ncv / live on framework
jean-luc guionnet & bertrand denzler / live on framework
dallas simpson / framework intro
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From ???@??? Tue Nov 16 22:15:25 2004
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From: Owen Green <x.x.xxxxx@xxxxxxxx.xxx>
Subject: Re: [microsound] searching resources for generative sound
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derek holzer wrote:
> And AFAIK, OSC [Open Sound Control] can be used to communicate between a
> very wide range of applications, including Proce55ing, MAX, Pure Data,
> SuperCollider, Flash, Reaktor and others.
Including Java, happily enough for the OP :)
> It's an open standard, and I
> think more apps will be picking it up as time goes on.
Agree.
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From ???@??? Wed Nov 17 02:42:38 2004
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Date: Wed, 17 Nov 2004 03:42:30 +0100 (CET)
From: casademunt alexandre <xxxxxxxxx_xxxx@xxxxx.xx>
Subject: [microsound] AngstProd NEWSLETTER : ANGSTPRODLP03 Fractional - Hliods
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Hi,
Fractional first album, Hliods is free download on
www.angstprod.org
- 8 ethno-electronica, drill'n bass expriment tracks.
- 2 formats available : Ogg (110 Mo) and CD Audio
image (440 Mo).
direct link:
http://www.angstprod.org/releases.php
have a nice day!
|*\/*|
http://www.angstprod.org
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From: erik de bruyn <xxxxxxxxxxxx@xxxxx.xx.xx>
Subject: re: [microsound] rescoring of Falluja...
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they are coming to take me away , aha .... :))
carl kruger <xxxxxx@xxxxx.xxx> wrote:
>...Heavy metal in the service of empire...>
++++++++++
i'd read about a group of iraqi prisoners who'd been
subjected to what one of them later described as
"very loud music with scary voices". which i suppose
could be anything from britney simpson to napalm
death, as long as the amp was on the verge of clipping
and everything came out heavily distorted...
i'd play select sogar tracks...then at least i could
enjoy it while carrying out my patriotic duty.
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Subject: [microsound] AC.19 - Chicago 11/21/04 - Aram Shelton and Koura
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crossposted...
AC.19
Please join us for the final installment in the fall
series of AC events. These performances feature
improvised electroacoustic music in a comfortable,
intimate setting, designed to encourage active
listening.
11/21/04, Sunday, 7pm:
_Aram Shelton
_Koura (performance will be through headphones; if you
have a good pair bring them with you, otherwise we can
provide you with a pair)
Since this is a private residence, you *must* RSVP to
attend.
Show starts at 7pm.
Free, donations welcome.
Refreshments provided.
The Den
1349 N. Washtenaw #1F
Chicago IL 60622
Please e-mail xxxxxxxx@xxxxx.xxx or call 773.392.3763
for an RSVP or for more information. (we're having
some doorbell issues, so you may have to knock :)
this is the final show for this year. thanks to the
peformers and attendees for their patronage. we will
be back next year with more shows, so watch this space
for further information. thanks again and best wishes
for the coming new year!
v'
__________________________________
Do you Yahoo!?
The all-new My Yahoo! - Get yours free!
http://my.yahoo.com
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From: vadim sprikut <xxxxxxxx@xxxxx.xxx>
Subject: [microsound] AC.19 - Chicago 11/21/04 - Aram Shelton and Koura
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crossposted...
AC.19
Please join us for the final installment in the fall
series of AC events. These performances feature
improvised electroacoustic music in a comfortable,
intimate setting, designed to encourage active
listening.
11/21/04, Sunday, 7pm:
_Aram Shelton
_Koura (performance will be through headphones; if you
have a good pair bring them with you, otherwise we can
provide you with a pair)
Since this is a private residence, you *must* RSVP to
attend.
Show starts at 7pm.
Free, donations welcome.
Refreshments provided.
The Den
1349 N. Washtenaw #1F
Chicago IL 60622
Please e-mail xxxxxxxx@xxxxx.xxx or call 773.392.3763
for an RSVP or for more information. (we're having
some doorbell issues, so you may have to knock :)
this is the final show for this year. thanks to the
peformers and attendees for their patronage. we will
be back next year with more shows, so watch this space
for further information. thanks again and best wishes
for the coming new year!
v'
__________________________________
Do you Yahoo!?
The all-new My Yahoo! - Get yours free!
http://my.yahoo.com
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From ???@??? Wed Nov 17 14:29:12 2004
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Date: Wed, 17 Nov 2004 09:29:03 -0500
From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] There Is Nothing Wrong In This Whole Wide World
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Not micro at all, but some of you might appreciate this:
by Chris Cobb
Pictures:
http://www.pushby.com/tomas/2004/11/15/index.html
For one amazing week in November, Adobe Bookshop in San Francisco has agreed
to allow its estimated 20,000 books to be reclassified by color. Shifting
from red to orange to yellow to green, the books will follow the spectrum
continuously, changing Adobe from a neighborhood bookshop into a magical
library-but only for one week.
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From ???@??? Wed Nov 17 16:06:55 2004
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Date: Wed, 17 Nov 2004 06:56:38 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] grey video
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not microsound per se but the video is an innovative mashup...check it
out:
http://www.boingboing.net/2004/11/17/grey_video_beatlesja.html
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From ???@??? Wed Nov 17 15:37:31 2004
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Date: Wed, 17 Nov 2004 16:35:45 +0100
From: Michael Nisi <_@xxxxxxxxxxx.xxx>
Subject: [microsound] edirol
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hi, long time no hear.
hope you're all well.
gear question. i'm about to buy the ua-25 usb audio interface by edirol.
http://edirol.com/products/info/ua25.html
dropholes? better ones? any hints appreciated.
sorry, if you should be offended by this technical request.
take care,
michael
--
MichaelNisi.Com,
Aesthetic Coding
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From ???@??? Wed Nov 17 15:49:13 2004
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Date: Wed, 17 Nov 2004 16:49:04 +0100 (CET)
From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] Contents Onda Sonora 17-11-04
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ONDA SONORA (Radio Sesiones Experimentales), Madrid
(ES)
·Radio Círculo de Bellas Artes 100.4 FM -
Miércoles/Wednesday 15h - www.circulobellasartes.com
·Radio Autónoma 88.8 FM - Mar-Jue/Tue-Thu 16h -
www.uam.es/ra
·Escucha en directo a cualquier hora / Listen live
real time - www.ondasonoraradio.com
_________________________________
CONTENTS ONDA SONORA 17-11-04
01. Z'EV
Track: 1
Album: Headphone Musics, 1 to 6
Label: Touch
El último trabajo publicado por Stefan Joel Weisser,
Z'ev, artista norteamericano procedente de la costa
oeste aunque se desarrolló como creador en Nueva York,
que nos propone un disco de escucha activa con
auriculares construido a partir de material recopilado
en cintas por el autor durante los últimos 30 años,
concentrando la atención en el montaje y los armónicos
intrínsecos a las fuentes sonoras. Vamos a escuchar la
primera de sus "Headphone Musics", recientemente
publicadas por el sello británico Touch
Last release by Stefan Joel Weisser, Z'ev, North
American artist coming from the west coast though he
developed himself as a creator in New York. He
proposes us a record of active listening with
headphones, built starting from material gathered in
tapes by the author during the last 30 years,
concentrating the attention on the assembly and the
inherent harmonics to the sound sources. Headphone
Musics has recently been released by the British label
Touch
02. CÂNDIDO LIMA
Track: Oceanos (1978)
Album: Antologia de Musica Electronica Portuguesa
Label: Tomlab
Escuchamos al compositor portugués Cândido Lima con su
obra "Oceanos", de 1978, incluida en una antología de
música electrónica portuguesa compilada por Rafael
Toral y Plancton Music desde Portugal y editada por el
sello de Colonia Tomlab. Cândido Lima ha estudiado
composición, estética, filosofía y comunicación en
varios países y junto a maestros como Iannis Xenakis,
introduciendo la música por computadora en contextos
académicos, frecuentemente contrarios a las
innovaciones
Portuguese composer Cândido Lima with his work
"Oceanos", included in an anthology of Portuguese
electronic music compiled by Rafael Toral and Plancton
Music from Portugal and released by the German label
Tomlab. Cândido Lima has studied composition,
aesthetics, philosophy and communication in several
countries and together with masters like Iannis
Xenakis, introducing computer music in academic
contexts
03. TELECTU
Track: Performance # (1984)
Album: Antologia de Musica Electronica Portuguesa
Label: Tomlab
Continuamos en la antología de música electrónica
portuguesa recientemente publicada por el sello alemán
Tomlab. Esta es la música de Telectu, un dúo de
improvisación formado por Jorge Lima Bareto y Victor
Rua hace más de 20 años, con diversas aproximaciones
musicales: art rock, minimalismo, electrónica,
concreta... esta es su contribución a esta compilación
dirigida por otro ilustre músico electrónico
portugués: Rafael Toral
Still in Tomlab's "Anthology of Portuguese Electronic
Music", the sounds of Telectu, an improvisation duet
formed by Jorge Lima Bareto and Víctor Rua more than
20 years ago, with diverse musical approaches: art
rock, minimalism, electronic, concrete... this is
their contribution to this compilation directed by
another distinguished Portuguese electronic musician:
Rafael Toral
04. JOHN HUDAK / JASON KAHN / BRUCE TOVSKY
Track: 1
Album: For The Time Being
Label: Cut
Jason Kahn sonó hace unos meses en Onda Sonora con su
trabajo junto a Jon Mueller en el álbum "Papercuts".
En esta oportunidad, el original percusionista y
músico electrónico neoyorkino con residencia en suiza
edita "For The Time Being" en su propio sello Cut, un
trabajo que recoge dos actuaciones; suena la primera
junto al artista sonoro John Hudak, con motivo de su
instalación "Winter" en una galería de arte en Nueva
York, mientras la segunda presenta a John Hudak y
Bruce Tovsky durante una actuación también en Nueva
York, en la que ambos procesan sus guitarras en tiempo
real
Onda Sonora featured Jason Kahn some months ago this
year with his work with Jon Mueller in the "Papercuts"
album. In this opportunity, the original percusionist
and electronic musician from NYC but his residence in
Swiss releases "For The Time Being" in his own Cut
label, a work that collects two performances; the
first one with him together with the sound artist John
Hudak, for his installation "Winter" at a NYC art
gallery, while the second presents John Hudak and
Bruce Tovsky during a performance in New York, with
both processing guitars in real time
05. JOHN HUDAK
Track: Room With Sky
Album: Room With Sky
Label: Spekk
Pieza a cargo del artista sonoro norteamericano John
Hudak en solitario, "Room With Sky", una obra que se
alarga hasta la hora exacta de
duración en la que el autor parte de una grabación de
su propia voz desde su dormitorio en Manhattan para
destruirla utilizando medios electrónicos. La
masterización corrió a cargo de Stephan Mathieu y la
edición a través del sello japonés Spekk
A solo piece by the North American sound artist John
Hudak, "Room With Sky", a work that lengthens until
the exact duration of an hour in which the author
departs from a recording of his own voice in his
bedroom in Manhattan, to destroy it using electronic
means. The masterización was in charge of Stephan
Mathieu and the edition was carried by the Japanese
label Spekk
06. HERIBERT FRIEDL
Track: Converge
Album: Converge EP
Label: Conv
Pasamos al sello Conv, un netlabel con base en Madrid
que presenta una nueva composición del austríaco
Heribert Friedl, una larga pieza de
minimalismo conceptual titulada Converge, basada en
diversos microsonidos que se entrelazan alterando el
espacio físico en el que se desenvuelve la obra
Conv is a netlabel with base in Madrid that presents a
new composition by the Austrian artist Heribert
Friedl, a long piece of conceptual minimalism titled
"Converge", based upon diverse micro-sounds that are
entwined altering the physical space in which the work
was originally wrapped
07. LOGREYBEAM
Track: Premonition
Album: It's All Just Another Aspect Of Mannerism
Label: Type
Este es el primer disco del californiano Gabriel
Morley, al que ya hemos escuchado alguna vez en Onda
Sonora con su proyecto junto a John Twells -Xela-,
Yasume, aunque para este nuevo trabajo en solitario en
Type Records adopta un nuevo sobrenombre: Logreybeam,
en el que conserva algunos matices del brillo y la
belleza de Yasume aunque se mueve en terrenos algo más
abstractos
Californian Gabriel Morley's first solo record, to
whom we know for with his project with John Twells
-Xela-, Yasume, although for this new solo work in
Type Records adopts a new moniker: Logreybeam, in
which conserves some shades of the shine and the
beauty of Yasume while visiting more abstract lands
08. PROGRAMME
Track: 3
Album: Bogue
Label: Lithium
Nos trasladamos a Francia para escuchar a uno de los
combos más incendiarios de los últimos años, en cuya
batidora pueden caber los elementos más salvajes del
rock y del hip hop o, como en este caso, paisajes
electrónicos hipnóticos e inquietantes, siempre bajo
la violencia en la voz de Arnaud Michniak, que fuera
hace una década cantante de Diabologum. Este es el
último trabajo al frente de su proyecto Programme, un
mini-cd de 23 minutos titulado "Bogue" que edita el
sello Lithium
We move to France to listen one of the most incendiary
combos of the last years in whose blender can fit the
wildest elements ofrock and hip-hop or, as in this
case, hypnotic and disturbing electronic landscapes,
always under the violence in Arnaud Michniak's voice,
Diabologum frontman a decade ago. This is the last
work with his project Programme, a 23-minute mini-cd
released by Lithium
09. BOLA
Track: 4
Album: Gnayse
Label: Skam
Los ambientes del británico Darrel Fitton, músico
electrónico conocido por sus sobrenombres Jello y
Bola. Esto es "Gnayse", su tercer largo como Bola para
el sello Skam, que dirige desde Manchester Andy
Maddocks, dos años después de su última entrega
"Fyuti"
The atmospheres of Darrel Fitton, a British electronic
musician known by his Jello and Bola monikers. This is
"Gnayse", their third LP as Bola for the Skam label,
directed from Manchester by Andy Maddocks, two years
after his latest release "Fyuti"
10. TRIOSK
Track: The Streets Are Empty
Album: Moment Returns
Label: Leaf
Desde Australia nos llega la música de Triosk, una
formación de jazz que conocimos de la mano de Jan
Jelinek en su trabajo conjunto del año pasado para el
sello ~Scape. Los de Sydney regresan ahora con un
nuevo álbum, esta vez sólo con cierta ayuda del alemán
aunque inspirados por su narrativa, "Moment Returns",
editado a través del sello Leaf
From Australia, the music of Triosk, a jazz formation
that we knew by Jan Jelinek with their collaborative
work of last year for the ~Scape label. The Sydney
trio now returns with a new album, this time with just
certain help by the German, although very inspired by
his narrative. "Moment Returns" is released by the
Leaf label
11. TARENTEL
Track: Klankity Klank / Hello! We Move Through Weather
Album: We Move Through Weather
Label: Temporary Residence
Hoy nos despedimos desde los Estados Unidos con una
formación procedente de San Francisco que ha
evolucionado mucho desde su debut "From Bone To
Satellite", donde las guitarras eran el engranaje
fundamental de sus cuidadas construcciones sonoras;
hoy en día, el trío basa sus composiciones, mucho más
inmediatas, en el collage sonoro al estilo de uno de
sus bandas favoritas, los alemanes Faust
We end in the United States, with a formation coming
from San Francisco that has evolved a lot from their
debut "From Bone To Satellite", where the guitars were
the fundamental engagement of their care sound
constructions; today, the trio bases its compositions,
much more immediate, in a sound collage in the style
of one of their favourite bands, Faust
______
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From: batch totem <xxxxx_xx@xxxxx.xx>
Subject: [microsound] Burning 1 second long audiotracks
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does anyone here have any experience with burning audiotracks on a cd that last for less than 2 seconds?
my cd burner insists that the minimal tracklenght must me set to 2 seconds and firthermore it ignores when you set the preset 2 seconds pause between tracks to o sec
--Boundary_(ID_7tXfrTC19t7LHBuakb32kw)--
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From: steinbr=?ISO-8859-1?B?/A==?=chel <xxxxxxxxxxxx@xxxxxxxx.xx>
Subject: Re: [microsound] Burning 1 second long audiotracks
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i tried all this and have until now not found out any way to burn (or
manufacture) a track on a cd that lasts less then 4 seconds. i've burned a
track on a cd once that lasts 2 seconds and it still indicated a length of 4
seconds.
i think it has to do with the space the index marker and track information
is being used for each track. but not sure...
Am 17.11.2004 17:42 Uhr schrieb "batch totem" unter <xxxxx_xx@xxxxx.xx>:
> does anyone here have any experience with burning audiotracks on a cd that
> last for less than 2 seconds?
>
> my cd burner insists that the minimal tracklenght must me set to 2 seconds and
> firthermore it ignores when you set the preset 2 seconds pause between tracks
> to o sec
>
--
..:.: http://www.synchron.ch :.:.
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From ???@??? Wed Nov 17 17:37:46 2004
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Date: Wed, 17 Nov 2004 12:37:40 -0500
From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist for November 10, 2004
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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> Dear Artist and Label
>
> Welcome to the radio program Whynot Jazz on Toronto's CKLN FM 88.1.
> Heard Every Wednesday Morning from 7am-11am est, 1pm thru most of
> Europe and noon in the UK. Available around the world at:
>
> www.ckln.fm
>
> Here is the playlist from the last Whynot Jazz Program. Please note
> that radio program, hosted by Mike Hansen, takes an outside
> examination of new improvised and jazz musics. Whynotjazz is one of
> the very few voices for progessive new music heard in Toronto or
> around the world.
>
> Why Not?
> 2004/11/10
>
>
> Artist
> Song Title
> Album Title
> Label
>
>
>
> Fennesz
> Live in Japan
> Live in Japan
> Head Records
>
>
>
> Per Henrik Wallin Trio
> Wuppertal
> The Stockholm Tapes
> Ayler Records
>
>
>
> Frank Gratowski Trio
> Crooked Rose
> Quicksand
> Meniscus
>
>
>
> Michiel Braam
> Take Care
> Michiel vs Braam
> Bik Bent Braam
>
>
>
> Hubbub
> Hoib 2
> Hoib
> Matchless Recordings
>
>
>
> Glen Hall
> Cut - Up
> Hallucinations
> Leo Records
>
>
>
> Hansen/Krakowiak
> 2
> Relay
> Spool Records
>
>
>
> Paul Newman
> Open House
> Symmetry part 3
> Symmetry
> independent
>
>
>
> Ken Aldcroft Group
> I Wanna Do It Again
> Kirby Sideroad
> Trio Records
>
>
>
> MSG
> track 5
> Experimental Music
> independent
>
>
>
> Peter Cusack
> Two Small Boys Go Shopping
> Where is the Green Parrot?
> RecRec
>
>
>
> Frank Gratkowski Trio
> Second Coming
> Quicksand
> Meniscus
>
>
>
> Nilan Perera
> A Job in My Factory
> Harmless Love
> Synaptic Circus
>
>
>
> Birgit Uhler/Ute Wasserman
> Stoff 5
> Kunststoff
> Creative Sources Recordings
>
>
>
> Keijo Haino
> C'est Parfait (excerpt)
> C'est Parfait
> Turtles Dream/ A Bruit Secret
>
>
>
> Sawtooth
> Concrete Dream Sequence
> Celluiod Dreams
> Incidental
>
>
>
> Erosonic
> Beating The Heavenly Drum
> Mystery Theatre
> Victo
>
>
>
> Mike Khoury/Piotr Michalowski
> Rostador
> Babardah
> Abzu Recordings
>
>
> Your support is necessary in keeping this voice for the music current.
> Please feel free to forward music to the address below. Thanks again
> for your support. Keep Listening
>
>
>
> Thanks
> Mike
>
>
> Mike Hansen
> CKLN FM 88.1
> Whynot Jazz Program
> 79 Benson Ave.
> Toronto,On
> Canada
> M6G 2H7
> xxxxxxxxxx@xxxxxxx.xxx
>
>
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From ???@??? Wed Nov 17 17:43:32 2004
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Date: Wed, 17 Nov 2004 18:54:44 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] Burning 1 second long audiotracks
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One issue is that track beginnings and endings need to line up with the
disc sectors. Most burning apps pad the tracks to meet the sectors, and
I imagine this is why it constrains the length to more than 2 seconds.
You might look into CDRDAO. It is written for Linunx, but should also
compile on OSX. There's also a graphical front-end called GCDMaster
[linked to on the CDRDAO page] which alows you to edit the track markers
in your audio file.
One thing that is "hardcoded" in the CD spec for sure is no more than 99
tracks on a disc. So your CD of one second tracks will have to be 99
seconds long max!
d.
from: http://cdrdao.sourceforge.net/
CDRDAO
Disk-At-Once Recording of Audio and Data CD-Rs/CD-RWs
Focus
Cdrdao records audio or data CD-Rs in disk-at-once (DAO) mode based
on a textual description of the CD contents (toc-file).
Advantages of Disk-At-Once (DAO) Recording
Recording in disk-at-once mode writes the complete disc, i.e.
lead-in, one or more tracks and lead-out, in a single step. The commonly
used track-at-once (TAO) mode writes each track independently which
requires link blocks between two tracks. Older CD-recorder models forced
a two second pause (pre-gap) between two tracks whereas newer models
allow adjusting of the pause length in TAO mode reducing the number of
link blocks to a minimal amount. However, with TAO it is generally not
possible to define the data that is written in pre-gaps. But exactly
this feature makes audio CD recording interesting, e.g. by creating
hidden bonus tracks or track intros in pre-gaps like it is common habit
on commercial CDs.
Finally, DAO recording is the only way to write data to the unused
R-W sub-channels for e.g. CD-G or CD-TEXT.
Features
* Full control over length and contents of pre-gaps (pause areas
between tracks). Pre-gaps may be completely omitted, e.g. for dividing
live recordings into tracks.
* Control over sub-channel data like:
o catalog number
o copy, pre-emphasis, 2-/4-channel flags
o ISRC code
o index marks
* Support for exact audio, data and mixed mode CD copying.
* Support for R-W sub-channel writing.
* Tracks may be composed of different audio files supporting non
destructive cut.
* Accepts WAVE and raw audio files.
* CD-TEXT reading and writing with drives that support it.
* CDDB access to automatically create CD-TEXT data.
* Support for on-the-fly copying.
steinbrüchel wrote:
> i tried all this and have until now not found out any way to burn (or
> manufacture) a track on a cd that lasts less then 4 seconds. i've burned a
> track on a cd once that lasts 2 seconds and it still indicated a length of 4
> seconds.
>
> i think it has to do with the space the index marker and track information
> is being used for each track. but not sure...
>
>
> Am 17.11.2004 17:42 Uhr schrieb "batch totem" unter <xxxxx_xx@xxxxx.xx>:
>
>
>>does anyone here have any experience with burning audiotracks on a cd that
>>last for less than 2 seconds?
>>
>>my cd burner insists that the minimal tracklenght must me set to 2 seconds and
>>firthermore it ignores when you set the preset 2 seconds pause between tracks
>>to o sec
>>
>
>
> --
>
> .:.: http://www.synchron.ch :.:.
>
>
> ---------------------------------------------------------------------
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--
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---Oblique Strategy # 44:
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Date: Wed, 17 Nov 2004 18:56:56 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] Burning 1 second long audiotracks
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derek holzer wrote:
> You might look into CDRDAO. It is written for Linunx, but should also
> compile on OSX.
Looks like it also works on m$windoze.
from: http://cdrdao.sourceforge.net/
Platforms Reported to Work
* FreeBSD
* Irix
* Linux
* Solaris
* HP-UX
* Win32
* OS/2
* Unixware
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Date: Thu, 18 Nov 2004 05:32:25 +1100
From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] Hobart: Uber_Lingua in Hobart this weekend,
doing LINGO with Cluster at SIRENS Friday 19th of Nov... 9pm
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Here's the hype relating to a gig I'm involved with in Hobart this
weekend... cheers
______________
Uber_Lingua here again reminding you about our LINGO event this Friday night
the 19th at SIRENS, in collaboration with the Cluster collective. Bring all
your friends coz this is gonna be a big one! We¹re hoping to play tracks in
over 40 languages throughout the night, so expect to be mind boggled.
Due to popular demand the many photos from the first LINGO event can now be
found at http://www.uberlingua.net (click on the crowd photo)
Along with all the exciting stuff that we¹ve already told you about, we can
now reveal that Hobart bodybuilding rapper (originally from Sierra Leone)
ŒCreator¹ will be performing a collaborative track with Melbourne DJ ŒbP¹ in
his native tongue of Mende. Creator bought the house down last month when he
performed two tracks to the 180-odd crowd.
bP¹s an electronic music composer from way back and has a few loops up his
sleeveŠ This should be good coz they¹re fast tracks so Creator¹s gonna bring
out his Raggamuffin styleee.
Another thing we didn¹t mention in last week¹s email out was the two door
pricesŠ like last time you can enter lingo for six dollars. The alternative
is paying an extra $4 and pick up a limited edition (50 only) Uber_Lingua
MIX CD featuring an hour of tracks from artists who¹ve featured on the first
two LINGO lineups and a few others thrown inŠ first in best dressed...
Don¹t forget the Greek, Bulgarian and Japanese DJs making this event the
most modern culturally diverse music gig to hit Hobart in a whileŠ ADP
rocked the crowd at a recent Œpolyglot¹ event in Melbourne with some solid
Greek Hip Hop productions, FSB has all the Eastern European dancehall you
need, and Kaigen has some incredible Japanese discs to throw at you (and we
don¹t mean shuriken ninja stars)Š along side some of Hobarts finest like
Gusto from Cluster, Cygnet Swiss Mexican Sakamoiz and the above mentioned
CreatorŠ and bP.
Slide projections will come courtesy of John Aslanidis check out
http://www.zonar.net/aslan
LINGO @ SIRENS : Friday 19th of November 2004 from 9pm till 2am
$6 or $10 with CDŠ http://www.uberlingua.net
email xxxx@xxxxxxxxxx.xxx to subscribe / unsubscribe
demos can be sent to Uber_Lingua PO BOX 2613 Fitzroy 3065 Australia
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Date: Thu, 18 Nov 2004 07:41:18 +1100
From: uh lotta ukulele <xxxxxxxx_xxxxx@xxxxxxx.xxx>
Subject: [microsound] Castings tour Melbourne/Adelaide Dec'04
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X-OriginalArrivalTime: 17 Nov 2004 20:42:02.0876 (UTC)
FILETIME=[E4A433C0:01C4CCE5]
Sydney/Newcastle quintet Castings are travelling through Melbourne &
Adelaide to promote their new ep 'uh lotta ukulele' & the forthcoming
release of a split 7” (with Melbourne band ii) on Steady Cam Records as part
of the Background Frequencies series.
[Thursday December 2nd]
@Planet Café, Melbourne
Hi-God People,Castings,Bletchly Girls
kicks off at 9pm
[Friday December 3rd]
@SEAS Gallery, Adelaide
Headdress Of Neon Flames,Castings,Artax Mission,Ned Collette (city city
city),Lola,Mcguyver Taxi Driver,
Golden Swallow,V,DJ Manimal
early start/all ages/byo
[Saturday December 4th]
@Exeter Hotel, Adelaide
Headdress Of Neon Flames,Castings
[Sunday December 5th]
@Bar Open, Melbourne
North Atlantic (ex-2 litre dolby),Castings,ii
9.30pm start
+++++++++++++++++++++++++++Biography++++++++++++++++++++++++++
Founded in late 2000 and consisting of various rejected musicians fed up
with performing 'songs' - Castings began almost completely focused on
improvisation without a frame or destination. Week after week we met to work
on the conclusions and a sound just presented itself (sans ego). Early Cab
Volt, Dead C, This Heat, AMM - these groups sparked ideas and confirmed our
belief in the music we produced.
June 2004 we hand out "Electro Disco Weirdo" to friends (a compilation of
recent recordings) and through word-of-mouth secure a release for it on US
label Tiny Philanthropist.
Our music doesn't have title, it's five people in a room attempting to
communicate with each other - and hopefully others too....an ode to mistakes
that often turn good.
_________________________________________________________________
Check Hoyts movie times via SMS:
http://hoyts.ninemsn.com.au/session/sms_sessiontimes.asp
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Date: Wed, 17 Nov 2004 22:36:30 +0000
From: eric namour <xxxx@xxxxxxx.xx.xx>
Subject: [microsound] CONSTRUCTION SONOR: 20.11 | london
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hello
[no.signal] is back for 2 autumn events. hope you can make it to two
astonishing london venues and promising events.
best
e/n
[no.signal] | www.no-signal.net
--
SAT 20 NOV | HORSE HOSPITAL | 6pm-2am
Russell sq | London wc1n ahx | UK
£5 contribution (with swiss buffet, talk, live audio performances,
screenings)
-
CONSTRUCTION SONOR: 'a sonic journey beneath the Alps'
Bernd_Schurer, Steinbrüchel, Günter_Müller, Marcus_Maeder
event's page: http://www.no-signal.net/cs (brief infos below)
-
[no.signal] presents an all Swiss experimental line-up of the
sound/music project <b>Construction Sonor<b/>, a sonic journey into the
tubes and shafts of the Gotthard and Lötschberg, to take place in an
18th century former equine sanatorium... [+++ for full program, mp3s,
infos]
-
[media partner: Kultureflash --> check the article here:
http://www.kultureflash.net/current/#event2250
.
[featured on the recent Wire magazine 'Special Events' section of The
Conduit:
http://www.thewire.co.uk/news/uk_special.php
.
[recommended by BBC Experimental:
http://www.bbc.co.uk/music/experimental/
.
[part of events of the week on Intuitive Music:
http://www.intuitivemusic.com/index.php
|||
[COMPETITION]
we have 2 double CDs of Construction Sonor
(http://www.gallerie-ph.ch/en/events/construct-sonor/cd/index.html) to
giveaway for the first emailing infoATno-signalDOTnet telling us
"(i) how many nationalities are represented on the second CD and (ii)
who is the only non-european artist".
NOTE: this competition is valid only to London-based members and the CD
will be picked up at the venue directly.
|||
++PROGRAM
6.00pm: introduction of the project + film projection
7.00 - 8.00: refreshments (Swiss buffet)
8.30: LIVE AUDIO performances:
B E R N D S C H U R E R [zurich / domizil]
(field recordings_piano_computer)
http://www.no-signal.net/cs/art1.html
-
S T E I N B R Ü C H E L [zurich / synchron | line | list]
(drone/minimal laptop compositions)
http://www.no-signal.net/cs/art2.html
-
G Ü N T E R M Ü L L E R [basel / for4ears][br]
(percussion | improvised_electronics)[br]
http://www.no-signal.net/cs/art3.html
-
M A R C U S M A E D E R [Zurich / domizil]
(processed field recordings)
http://www.no-signal.net/cs/art4.html
--
++VIDEO program by
URSULA PALLA
http://www.palla.ch
and a multi-screening projection of the Tunnel Construction
|||||||||||
RELATED EVENT:
Fri 19/11: be sure to catch another great line-up with Martin
Tetreault, Carlos Zingaro and local star Kaffe Matthews on board a boat
in the East End. For info go to the London Improv website
(www.londonimprov.com) or email tuladi_at_hotmail_dot_com
---
incoming [no.signal]
THUR 25/11: state51 extension is back with is 4th edition presenting an
evening of guitar drone, processed drums and live code performances
with dean roberts, Kapital Band 1 and TOPLAP acts by Tablex, Klippav,
Nebogeo. check www.no-signal.net/xtns4
|||
- - - - - - - - - - - - - - - - - - - - - - - -
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Date: Thu, 18 Nov 2004 10:08:30 +1100
From: Ian Andrews <x.xxxxxxx@xxxxxxxxxxx.xxx.xx>
Subject: Re: [microsound] [ot] grey video
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If only he had mixed non's (boyd rice's) Black Album with the Beatles White
Album the track would be much more interesting. The Beatles video footage
and the irritating crowd screams come from a very different era than the
white album. The mash up ain't that crash hot either.
best,
ian
Kim Casconewrote:
> not microsound per se but the video is an innovative mashup...check it
> out:
> http://www.boingboing.net/2004/11/17/grey_video_beatlesja.html
>
>
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From ???@??? Thu Nov 18 01:47:49 2004
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From: carl kruger <xxxxxx@xxxxx.xxx>
Subject: [microsound] [tko] go ringo...it's yr burfday
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needs more cowbell... otherwise, great vid.
> If only he had mixed non's (boyd rice's) Black Album
> with the Beatles White
> Album the track would be much more interesting.
__________________________________
Do you Yahoo!?
The all-new My Yahoo! - Get yours free!
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From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] [ot] grey video
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i'll be damned if that's not scarlet johannson in the first control
booth shots.
k
On Nov 17, 2004, at 6:56 AM, Kim Cascone wrote:
> not microsound per se but the video is an innovative mashup...check it
> out:
> http://www.boingboing.net/2004/11/17/grey_video_beatlesja.html
>
>
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From ???@??? Thu Nov 18 03:44:05 2004
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Date: Thu, 18 Nov 2004 03:43:59 +0000
From: xxxxxxx@xxx.xxx
Subject: [microsound] [ot] new release by bridle wire/thaniel ion lee
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Bridle Wire. Damper String. 3"CDR
One monolithic drone piece built entirely from samples of pianos. Who the hell knows what is really going behind the music with this one. What we do know is that Thaniel Lee (who is Bridle Wire) is a talented visual artist from New Albany, IN. who has crafted a devastingly beautiful noise track. Like Glenn Branca dipped in a digital fire.
available at
http://www.scarcelight.org/
--Boundary_(ID_hRqOsSM8S0m68sOLpSAbzA)--
From ???@??? Thu Nov 18 04:17:39 2004
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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] [ot] grey video
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this is what the big deal is about? the music is brutal. not exactly
cutting edge, me thinks...
g.
Kevin Ponto wrote:
> i'll be damned if that's not scarlet johannson in the first control
> booth shots.
>
> k
>
> On Nov 17, 2004, at 6:56 AM, Kim Cascone wrote:
>
> > not microsound per se but the video is an innovative mashup...check it
> > out:
> > http://www.boingboing.net/2004/11/17/grey_video_beatlesja.html
> >
> >
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From: guiver ben <xxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] [ot] grey video: hacking the beatles :where to site
results
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er, hello all,
my first post to this list: not really microsound but
i thought of it in relation to the postings around the
grey album video:
i've got this cracking remix of a beatles track (i
used to mix the beatles track with another tune when
dj'ing) and was wondering, as i'm rather ignorant of
such things, where i might be able to post it on the
net without getting a cease and desist notice or worse
from EMI. maybe i'm being too paranoid......
best
ben guiver
london
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Subject: Re: [microsound] [ot] grey video: hacking the beatles :where to site
results
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a certain guiver ben <xxxxxxxxx@xxxxx.xxx> wrote:
> er, hello all,
>
> my first post to this list: not really microsound but
> i thought of it in relation to the postings around the
> grey album video:
>
> i've got this cracking remix of a beatles track (i
> used to mix the beatles track with another tune when
> dj'ing) and was wondering, as i'm rather ignorant of
> such things, where i might be able to post it on the
> net without getting a cease and desist notice or worse
> from EMI. maybe i'm being too paranoid......
>
> best
>
> ben guiver
> london
>
http://gybo.proboards4.com/
m
--
--------___________________________
hear me here: http://www.mprims.tk
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Two London based events this Saturday :-
NOISETHEORYNOISE#2
Second in a series of all-day events aiming to examine the contention,"Noise is an unmapped
continent in comparison with which everything we recognise as music remains a parochial
backwater". Performers,speakers and contributers include DJ/rupture,Whitehouse's William Bennett,
z'ev,Achim Wollscheid,Giancarlo Toniutti,Cheap Machines and others
London Centre for Research in Modern Philosophy at Middlesex University, Tottenham Campus
20 November 10am - 6pm £10/£5
www.mdx.ac.uk/www/CRMEP/events/noise.htm
and
CONSTRUCTION SONOR
An audiovisual interpretation of a journey beneath the Alps
The evening starts with a spoken introduction and a video programme (6pm)
followed by a buffet provided by the Swiss Embassy (7pm) and then
live electronics from Gunter Muller, Bernd Schurer, Steinbruchel and
Marcus Maeder, coupled with continuous visuals by Ursula Palla (8:30 - 11:30pm)
The Horse Hospital 20 Nov 6pm - midnight £5 020 7833 3644
www.nosignal.slab.org
Thought about finding a new direction ? Enrol now at Morley College. Call 020 7450 1889 or visit the college website at http://www.morleycollege.ac.uk/guide/guide.htm for further details.
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From: xxxxxxxx@xxxxxxx.xx
Subject: [microsound] beauty
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Arve Henriksen - Chiaroscuro (Rune Grammofon)
I'm very excited of arve henriksen last release, entitled 'chiaroscuro'.
I't a disc where creativity is free and all the instruments available are
used in a fresh way.
I think also that one of the main elements that make this disc exciting
is that it expresses beauty, and goes beyond a rational idea of aesthetics.
i think also that one of the most recurrent peculiarities of experimental
electronica, especially in the last period of time, is that it is highly
conceptual. so conceptual that many times experimentation does not leave
room to beauty (and not aesthetics).
it's a big topic, but don't you think that beauty still deserves a primary
role, intended as an harmonic objective in the musical piece of art production
experience?
this may be simply a "female" point of view... sorry if my english is poor
eva
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Date: Thu, 18 Nov 2004 17:58:12 +0100
From: "Remco Bladel, van" <xxxxx@xxxxx.xx>
Subject: Re: [microsound] beauty
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Eva I'm a male...
But I totally agree
Remco
>
> it's a big topic, but don't you think that beauty still deserves a
> primary
> role, intended as an harmonic objective in the musical piece of art
> production
> experience?
> this may be simply a "female" point of view... sorry if my english is
> poor
> eva
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From: David William Newman <xxxxxxxx@xxxxx.xx.xx>
Subject: [microsound] Re: beauty
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Well your discussion prompted something in me.... I've just ordered the CD!
:) David @ Audiobulb.com
xxxxxxxx@xxxxxxx.xx writes:
> Arve Henriksen - Chiaroscuro (Rune Grammofon)
>
> I'm very excited of arve henriksen last release, entitled 'chiaroscuro'.
> I't a disc where creativity is free and all the instruments available are
> used in a fresh way.
> I think also that one of the main elements that make this disc exciting
> is that it expresses beauty, and goes beyond a rational idea of aesthetics.
> i think also that one of the most recurrent peculiarities of experimental
> electronica, especially in the last period of time, is that it is highly
> conceptual. so conceptual that many times experimentation does not leave
> room to beauty (and not aesthetics).
> it's a big topic, but don't you think that beauty still deserves a primary
> role, intended as an harmonic objective in the musical piece of art production
> experience?
> this may be simply a "female" point of view... sorry if my english is poor
> eva
>
> __________________________________________________________________
> Tiscali Adsl 2 Mega Free: naviga gratis tutto l'anno!
> Supera tutti i limiti di velocita' con Tiscali Adsl 2 Mega Free.
> Sei libero da costi fissi e, se ti abboni entro il 25 novembre,
> navighi gratis fino al 31 dicembre 2004 e non paghi il costo di adesione.
> http://abbonati.tiscali.it/adsl/
>
>
>
>
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Subject: Re: [microsound] beauty
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when beauty is mentioned , it might be better addressed as 'sensual'. i
mean , avoiding a train wreck might be beauty, yeah?
it is a truism that what is sensual eventually becomes tiresome or even
repulsive.the challenge then , if you accept that truism is to create a
balance or something between the conceptual and the sensual , since
conceptual works continue to be beautiful in a personal timeframe rather
than one imposed by the compositional media.
it is possible ; through years of rigorous training, almost superhuman
degrees of self sacrifice , fanatic adherence to almost impossible high
standards of audio reproduction ( or , more usually ; to finding the good
tidbit and stretching it out for an hour or more) to present the sensual and
the conceptual as one in the same, or so closely in harmony or related to be
considered permutations of the same mysterious or perhaps god given
substance. those individuals who follow this high , lofty and noble route
however often remain 'single' and take longer to accomplish much , having to
darn their own socks, take time to sigh heavily etc.
-hope this helps
Bill
on 11/18/04 8:29 AM, xxxxxxxx@xxxxxxx.xx at xxxxxxxx@xxxxxxx.xx wrote:
> Arve Henriksen - Chiaroscuro (Rune Grammofon)
>
> I'm very excited of arve henriksen last release, entitled 'chiaroscuro'.
> I't a disc where creativity is free and all the instruments available are
> used in a fresh way.
> I think also that one of the main elements that make this disc exciting
> is that it expresses beauty, and goes beyond a rational idea of aesthetics.
> i think also that one of the most recurrent peculiarities of experimental
> electronica, especially in the last period of time, is that it is highly
> conceptual. so conceptual that many times experimentation does not leave
> room to beauty (and not aesthetics).
> it's a big topic, but don't you think that beauty still deserves a primary
> role, intended as an harmonic objective in the musical piece of art production
> experience?
> this may be simply a "female" point of view... sorry if my english is poor
> eva
>
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From: =?iso-8859-1?q?guido=20henneb=F6hl?= <xxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] return of the son of metaphysics (was:beauty)
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interesting point.. please consider that beauty,
understood as an harmonic construction of the whole,
occurs as a mechanism to eliminate those parts not
fitting into this concept. it causes oppression and
exclusion. the root of it all may be the equalization
of beauty and truth, already present in platos
thinking, and still alive today... its the never
ending return of that metaphysical idea that there
has to be a good, true and beautiful whole that gives
sense to its parts. through the centuries a lot of
people tried to work against this normative
concept..postmodernism claimed its death...with little
success..
isn´t an "aesthetics of failiure" a concept opposed to
that of "beauty".. if we use failiure to construct
just another homogenous structure - wouldn´t it be
easier to keep the old one?
to define our "postmodern" aesthetics we should think
of concepts based on divergence, not beauty...
guido
=====
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10407 berlin
030. 42.80.90.48
0162. 51.51.749
xxxxxxxxxxx@xxxxx.xx
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Date: Thu, 18 Nov 2004 19:15:33 +0100
From: marc <x@xxxxxxxx.xxx>
Subject: [microsound] OT 3inch CD question
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technical question...
does anyone know the exact maximum length for a professionally
pressed 3inch cd? i have already done a few 3inch cd pressings before
and it all worked fine (the longest being 21:14min). i have searched
the internet with different results. also i asked 3 people at my
pressing plant with 3 different answeres (20:00, 22:00, 22:30)!?
i have a record of approximately 21:50min (220mb) that i'd like to do
on 3inch cd. i was able to burn it on a 210mb cd-r. anyone got an
idea? any problems i should be aware of?
any ideas/help welcome. if you think it's OT please reply offlist.
thanks,
marc
http://www.dekorder.com
http://www.blacktocomm.org
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From ???@??? Thu Nov 18 18:33:29 2004
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From: steinbr=?ISO-8859-1?B?/A==?=chel <xxxxxxxxxxxx@xxxxxxxx.xx>
Subject: Re: [microsound] OT 3inch CD question
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i've also experienced different lenghts at different pressing plants. for my
last mini cd-rom i've switched the pressing plant during production because
of this.
i would suggest to send them the cd-r and then they can tell you if they can
do it or not. i think it should be possible...
cheers, ralph.
> i have a record of approximately 21:50min (220mb) that i'd like to do
> on 3inch cd. i was able to burn it on a 210mb cd-r. anyone got an
> idea? any problems i should be aware of?
>
> any ideas/help welcome. if you think it's OT please reply offlist.
>
> thanks,
> marc
>
> http://www.dekorder.com
> http://www.blacktocomm.org
>
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>
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Subject: Re: [microsound] return of the son of metaphysics (was:beauty)
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On Nov 18, 2004, at 12:45 PM, guido henneböhl wrote:
> interesting point.. please consider that beauty,
> understood as an harmonic construction of the whole,
> occurs as a mechanism to eliminate those parts not
> fitting into this concept. it causes oppression and
> exclusion.
Here "beauty" is functioning either as an adjective or a trait
possessed by an object or set of objects, or as some kind of objective
ideal. That thing over there is beautiful, this set of things together
has the quality of beauty, etc. It makes more sense to me to approach
the idea of beauty from a different direction -- not asking "Does this
possess the attribute of beauty?" but "Can I see this in a beautiful
way?" This is why narrowly avoiding a train wreck can be a beautiful
thing.
Phenomena are not inherently or objectively beautiful. It is our ideas
about phenomena that inspire us to experience beauty. So if there is
exclusion, we are responsible for it, not beauty.
> isn´t an "aesthetics of failiure" a concept opposed to
> that of "beauty".. if we use failiure to construct
> just another homogenous structure - wouldn´t it be
> easier to keep the old one?
> to define our "postmodern" aesthetics we should think
> of concepts based on divergence, not beauty...
Sure, what people generally think of as beautiful changes over time.
One can contribute to the discussion by asserting "This is beautiful!"
or "This is not beautiful!" People will look at it, think about it,
agree or disagree, and the conventional idea of beauty slowly shifts
and comes along for the ride. But that just happens. One can't act in
opposition to something so abstract and personal, only in opposition to
other peoples' ideas of it. I think it's just better to let your work
flow, to create things that are interesting to you, perhaps even
beautiful to you (or not if you don't care to), than to worry about how
your work fits into the cultural conversation about beauty. Just don't
play the game. "Man, I don't fit into your boxes, man..."
beau
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From: scott allison <xxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] return of the son of metaphysics (was:beauty)
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FILETIME=[C31E37B0:01C4CDA2]
>I think it's just better to let your work flow, to create things that
are
>interesting to you, perhaps even beautiful to you (or not if you
>don't care to), than to worry about how your work fits into the
>cultural conversation about beauty.
For me, beauty is in the ear of the beholder.
Scott Allison
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Date: Thu, 18 Nov 2004 15:32:15 -0500
From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: [microsound] [OT] very short cd trax
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hi
was it on this list that someone mentioned something about not being
able to record cd trax of 1 second or less?
if so, was there any final word- possible/not possible?
and in a similar vein, would it be possible to write a iso image of the
file system with the 1 second tracks?
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From ???@??? Thu Nov 18 20:34:46 2004
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From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] [OT] very short cd trax
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I posted this:
http://cdrdao.sourceforge.net/
If there's any iso mastering app that could do it, CDRDAO would probably
be it.
d.
john saylor wrote:
> hi
>
> was it on this list that someone mentioned something about not being
> able to record cd trax of 1 second or less?
>
> if so, was there any final word- possible/not possible?
>
> and in a similar vein, would it be possible to write a iso image of the
> file system with the 1 second tracks?
>
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 90:
"In total darkness, or in a very large room, very quietly"
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Subject: [microsound] SOUND INJURY call for submissions
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sijis entertainment is truly honoured to present.....
Sound_injury volume one to seven
a lavish but immaterial box set of recordings from the famous sound_injury / sound_recovery newslist.
Surely you remember.....
Once upon a time a certain free email account let you set up newsgroups with one megabyte attachments. Hmmm... we thought what if
someone created newslist where people sent and adjusted sounds to each other, creating a sort of online exquisite corpse. Yes we
thought that would be a great idea.
Each month a source sound was set out to all the world wide members. This source sound could be anything from a sine wave to a
pounding feet of marchers on an anti-war protest [yes we were young and naive in those days] This source sound would be adjusted,
added to and sent back to all the group, who then adjusted the adjustments, and sent them back to the group. Well, you could imagine
what a glorious mess we created every month.
----------
Pretty simple eh?
So between 2001-2003 sound injury was alive. Then the email account changed it's rules about email attachments and our plug was
pulled.
Seven CDs were created during the game.
And now they are all available to download for free!
---------
But Here's the important part:
also and as an added bonus we would like to invite past present and future members of sound injury to apply their sound grinding
mechanisms once more just for old times sake. using any of the material provided sound smiths are asked to come up with a remix for
sound_injury eight, a kind of bonus disc dvd type of affair
---
please circulate to fellow sound_injurers and sound manglers how may have missed out the first time by being in DSP prison.
If you want to take part in the bonus disc sound_injury_08 here's what you need to do:
download some or all of the sound injury material. available here:
http://www.archive.org/audio/audio-details-db.php?collection=sijis&collectionid=sound_injury01
http://www.archive.org/audio/audio-details-db.php?collection=sijis&collectionid=sound_injury02
http://www.archive.org/audio/audio-details-db.php?collection=sijis&collectionid=sound_injury03
http://www.archive.org/audio/audio-details-db.php?collection=sijis&collectionid=sound_injury04
http://www.archive.org/audio/audio-details-db.php?collection=sijis&collectionid=sound_injury05
http://www.archive.org/audio/audio-details-db.php?collection=sijis&collectionid=sound_injury06
http://www.archive.org/audio/audio-details-db.php?collection=sijis&collectionid=sound_injury07
And then using the same add/delete hit with a big stick rules you are welcome to create your own remix / response to the Sound
Injury project.
Try and encode your mp3s as 256kbps. and send them to: xxxxxxxxxxxx@xxxxx.xxx
[this address will only accept attachments of up to 10 megabytes so email if your composition is bigger than that]
DEADLINE: Please send you compositions by midnight 31st December 2004
thank you.
www.sijis.com
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From: Ben Swire <xxxxxxx@xxxxx.xxx>
Subject: [microsound] Re: usefulness of compressors/mastering in
experimentalmusic
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> Compression and limiting are, alongside
> equalization,
> the most useful techniques in mastering, as well as
> the most frequently abused. In addition to sucking
> life out of the dynamic range, heavy compression and
> limiting introduce distortion. For some reason, in
> almost every genre, the trend has become to make
> releases as loud as possible at the expense of audio
> fidelity. I am a fan of the Waves C4 multiband
> compressor and the L1+ limiter (which also has
> dithering algorithms) in moderation. I generally
compress
> material
> no more than 3-4 db in the compression stage, paying
> close attention not to squash any band of
> frequencies.
> I then follow the compressor with the L1. The L1
> also offers makeup gain compensation. This means
> that
> when audio hits or exceeds the threshold point, this
> becomes the loudest signal possible without digital
> clipping. I set the output stage to -3/10 db just
> to
> be safe. I also avoid more than 3 db of limiting,
> as
> any more than this (which is very common) will
> almost
> always be detrimental to the quality of the
> recording.
-Ben
www.foundrysite.com/benswire
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From: Guillaume Grenier <xxxxxxx.x@xxxxxxxxx.xx>
Subject: Re: [microsound] return of the son of metaphysics (was:beauty)
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On 18/11/04 12:45, guido henneböhl said in living color:
> isn´t an "aesthetics of failiure" a concept opposed to
> that of "beauty".. if we use failiure to construct
> just another homogenous structure - wouldn´t it be
> easier to keep the old one?
The failure of the aesthetic of failure... I sense a catchy essay in the
making...
g.
--
Guillaume Grenier - xxxxxxx.x@xxxxxxxxx.xx
"Things are more like they are now than they ever were before."
(Dwight Eisenhower)
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From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: Re: [microsound] return of the son of metaphysics (was:beauty)
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> > isn´t an "aesthetics of failiure" a concept opposed to
> > that of "beauty".. if we use failiure to construct
> > just another homogenous structure - wouldn´t it be
> > easier to keep the old one?
>
> The failure of the aesthetic of failure... I sense a catchy essay in the
> making...
Mayor Quimby on the Simpsons: "The polics of failure have *failed*! It's
time to make them work again!"
xxxxx@xxxx.xxx
http://www.quietamerican.org
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Date: Fri, 19 Nov 2004 00:44:36 +0000
From: k s <xx_xx@xxxxxxx.xxx>
Subject: [microsound] [NYC]Kenneth Kirschner+sawako live
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X-OriginalArrivalTime: 19 Nov 2004 00:45:02.0933 (UTC)
FILETIME=[01721850:01C4CDD1]
sawako & Kenneth Kirschner live performance
Friday, November 19th, 8 p.m.
NISUS-Galeria Galou
237 Kent Ave. (bet. North 1 St. and Grand St.)
L line:Bedford station, Williamsburg-Brooklyn
sawako
www.troncolon.com
Kenneth Kirschner
www.kennethkirschner.com
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Date: Fri, 19 Nov 2004 03:13:39 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] return of the son of metaphysics (was:beauty)
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> On 18/11/04 12:45, guido henneböhl said in living color:
>
>> isn´t an "aesthetics of failiure" a concept opposed to
>> that of "beauty".. if we use failiure to construct
>> just another homogenous structure - wouldn´t it be
>> easier to keep the old one?
>
> The failure of the aesthetic of failure... I sense a catchy essay in the
> making...
Though I sense your tongue is in your cheek, I will say that my recently
published article on microsound opines that "the aesthetics of failure may
be on its way to being simply a failure of aesthetics." And it was two
years ago that I first wrote that... :-)
P
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
{ Phil Thomson
{ home: http://www.sfu.ca/~pthomson
{ label: http://centibel.org/
{ group: http://groups.yahoo.com/group/databenders/
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.
--Boundary_(ID_ygWQiFANGJ//9vS9uGe/bg)
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From ???@??? Fri Nov 19 12:08:37 2004
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Subject: [microsound] neuroscience of music article
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hi list,
don't know if this has been posted here before:
Music and the Brain
What is the secret of music's strange power? Seeking an answer, scientists are piecing together a picture of what happens in the brains of listeners and musicians
By Norman M. Weinberger
http://sciam.com/print_version.cfm?articleID=0007D716-71A1-1179-AF8683414B7F0000
hidari
°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego
http://www.tomoroh.com/
http://www.stiege44.com/
http://www.skug.at/
>> necro'phon'i'con (from Greek: Necros- dead, phon- sound, icon -picture, representation; the book of dead sounds, or the image of dead sounds) a standard reference work for the acoustic oddities of pulp-occultist lore. made mostly from fragments of killed sounds, a franken- meets wittgenstein-ian creation playing duelling banjos with all dsp available but no banjos....
°°°°°
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From ???@??? Fri Nov 19 14:03:18 2004
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Date: Fri, 19 Nov 2004 14:01:29 +0000
From: ian stewart <xxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] Ryoji Ikeda article
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FILETIME=[680C6C90:01C4CE40]
I thought some here may be interested- there's an article on Ryoji Ikeda (by
Tim Cooper) and a review of Ars Electronica (by Elizabeth Bard) in this
month's Contemporary magazine. Both are available to read on site, as well
as in the print edition---
www.contemporary-magazine.com (click on issue no. 68)
all the best,
Ian
(film editor, Contemporary)
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Date: Fri, 19 Nov 2004 17:32:06 +0100
From: philippe-petit <xxxxxxxx-xxxxx@xxxxxxx.xx>
Subject: [microsound] beauty
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>
i think also that one of the most recurrent
peculiarities of experimental
electronica, especially in the last period of time,
is that it is highly
conceptual. so conceptual that many times
experimentation does not leave
room to beauty (and not aesthetics).
it's a big topic, but don't you think that beauty
still deserves a primary
role, intended as an harmonic objective in the
musical piece of art production experience?
this may be simply a "female" point of view... sorry
if my english is poor
eva
--
I totally agree with you, tas far as I'm concerned he music that stands
the test of time is the one where I can find melodies and abstraction,
music evoking images rather than simply noises superimposed one upon the
other or one after the other
philippe
| 0000 \\\\.. \\\\ __ http://www.bip-hop.com _---| 0000 \\\\..\\\\
contemporary electronic musics challenging the ears and the mind
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From ???@??? Fri Nov 19 17:39:34 2004
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From: tasty radish <xxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] return of metaphysics
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"interesting point.. please consider that beauty,
understood as an harmonic construction of the whole,
occurs as a mechanism to eliminate those parts not
fitting into this concept. it causes oppression and
exclusion. the root of it all may be the equalization
of beauty and truth, already present in platos
thinking, and still alive today... its the never
ending return of that metaphysical idea that there
has to be a good, true and beautiful whole that gives
sense to its parts. through the centuries a lot of
people tried to work against this normative
concept..postmodernism claimed its death...with little
success..
isn´t an "aesthetics of failiure" a concept opposed to
that of "beauty".. if we use failiure to construct
just another homogenous structure - wouldn´t it be
easier to keep the old one?
to define our "postmodern" aesthetics we should think
of concepts based on divergence, not beauty... "
beautifully said! ;) . (perhaps there can be a new
almost monstorous beauty born from the break from the
whole, as that breaks open, akin to kierkegard's sorta
wild sense of the cosmos-God)
question regarding aesthetics of failure-> do folks
find that this sensibility is romantic? I do at
times, and think that when it goes this route, it is
pretty conventional activity (in so far as it what it
triggers or opens up in terms of dimensions at a
perceptual level).
-andrew
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From ???@??? Fri Nov 19 18:20:18 2004
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From: GrahamWakefield <xxxxxx@xxxxxxx-xxxxx.xxx>
Subject: Re: [microsound] return of metaphysics
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There are many kinds of beauty, or rather, many ways to behold beauty. The
kind of beauty beheld that equates to truth is no more oppressive and
exclusive than your idea of opposing it with an aesthetics of failure.
What I find most beautiful of all is that which transcends such divisions, a
beauty not found by diverging from the existent (because divergence will
only find more of the existent) but found by creating/discovering something
completely beyond the +/- of the existent. I would hope that a post-x
aesthetics would focus on this kind of beauty if it cares to name it beauty.
On 19/11/04 9:39 am, "tasty radish" <xxxxxxxxxxx@xxxxx.xxx> wrote:
>
>
> "interesting point.. please consider that beauty,
> understood as an harmonic construction of the whole,
> occurs as a mechanism to eliminate those parts not
> fitting into this concept. it causes oppression and
> exclusion. the root of it all may be the equalization
> of beauty and truth, already present in platos
> thinking, and still alive today... its the never
> ending return of that metaphysical idea that there
> has to be a good, true and beautiful whole that gives
> sense to its parts. through the centuries a lot of
> people tried to work against this normative
> concept..postmodernism claimed its death...with little
> success..
> isn?t an "aesthetics of failiure" a concept opposed to
> that of "beauty".. if we use failiure to construct
> just another homogenous structure - wouldn?t it be
> easier to keep the old one?
> to define our "postmodern" aesthetics we should think
> of concepts based on divergence, not beauty... "
>
> beautifully said! ;) . (perhaps there can be a new
> almost monstorous beauty born from the break from the
> whole, as that breaks open, akin to kierkegard's sorta
> wild sense of the cosmos-God)
>
> question regarding aesthetics of failure-> do folks
> find that this sensibility is romantic? I do at
> times, and think that when it goes this route, it is
> pretty conventional activity (in so far as it what it
> triggers or opens up in terms of dimensions at a
> perceptual level).
> -andrew
>
>
>
> __________________________________
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> The all-new My Yahoo! - Get yours free!
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>
>
>
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>
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From ???@??? Fri Nov 19 18:38:22 2004
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From: xxxxxxx@xxx.xxx
Subject: Re: [microsound] return of metaphysics
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>,
"microsound <xxxxxxxxxx@xxxxxxxxx.xxx>" <xxxxxxxxxx@xxxxxxxxx.xxx>
Cc: GrahamWakefield <xxxxxx@xxxxxxx-xxxxx.xxx>
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i personally think that bueaty is power
-t
-------------- Original message from GrahamWakefield <xxxxxx@xxxxxxx-xxxxx.xxx>: --------------
> There are many kinds of beauty, or rather, many ways to behold beauty. The
> kind of beauty beheld that equates to truth is no more oppressive and
> exclusive than your idea of opposing it with an aesthetics of failure.
>
> What I find most beautiful of all is that which transcends such divisions, a
> beauty not found by diverging from the existent (because divergence will
> only find more of the existent) but found by creating/discovering something
> completely beyond the +/- of the existent. I would hope that a post-x
> aesthetics would focus on this kind of beauty if it cares to name it beauty.
>
> On 19/11/04 9:39 am, "tasty radish" wrote:
>
> >
> >
> > "interesting point.. please consider that beauty,
> > understood as an harmonic construction of the whole,
> > occurs as a mechanism to eliminate those parts not
> > fitting into this concept. it causes oppression and
> > exclusion. the root of it all may be the equalization
> > of beauty and truth, already present in platos
> > thinking, and still alive today... its the never
> > ending return of that metaphysical idea that there
> > has to be a good, true and beautiful whole that gives
> > sense to its parts. through the centuries a lot of
> > people tried to work against this normative
> > concept..postmodernism claimed its death...with little
> > success..
> > isn?t an "aesthetics of failiure" a concept opposed to
> > that of "beauty".. if we use failiure to construct
> > just another homogenous structure - wouldn?t it be
> > easier to keep the old one?
> > to define our "postmodern" aesthetics we should think
> > of concepts based on divergence, not beauty... "
> >
> > beautifully said! ;) . (perhaps there can be a new
> > almost monstorous beauty born from the break from the
> > whole, as that breaks open, akin to kierkegard's sorta
> > wild sense of the cosmos-God)
> >
> > question regarding aesthetics of failure-> do folks
> > find that this sensibility is romantic? I do at
> > times, and think that when it goes this route, it is
> > pretty conventional activity (in so far as it what it
> > triggers or opens up in terms of dimensions at a
> > perceptual level).
> > -andrew
> >
> >
> >
> > __________________________________
> > Do you Yahoo!?
> > The all-new My Yahoo! - Get yours free!
> > http://my.yahoo.com
> >
> >
> >
> > ---------------------------------------------------------------------
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> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
>
>
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Subject: [microsound] [OT] Glut of new cds of just no money to spend?
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I have been thinking some, about the past thread concerning people buying
less and less experimental cds... I wonder if it really has as much to do
with there being to many choices/a flooded market or maybe the problem could
also be related to the current down turn in consumer spending and the
increasing devaluation of the US dollar, (maybe this only relates to US
music buyers?), (we have less and less money to spend, and more and more
people seem to be getting laid-off). Are microsounders in the US spending
less on music now than you did four years ago, if so, do you feel its
because you have less money or just that there is less music you want to
purchase? How about people in other countries? Also if the US dollar
continues to drop, imported cds will cost more (look at current exchange
rate of US to European), possibly translating into even higher prices for
imported discs, but that would probably mean that US discs sent to other
countries would be cheaper because the US dollar is devalued. Am I way of
course with my thinking here?
Best
Scott Allison
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hi
( 04.11.19 19:25 +0000 ) scott allison:
> Are microsounders in the US spending less on music now than you did
> four years ago,
i am.
> if so, do you feel its because you have less money or just that there
> is less music you want to purchase?
um, there's also a thing called the network where many musicians are
just 'giving it away'. it's a remarkable thing- people sharing culture
with each other without having to monetize it.
try it!
--
\js ~~^##\{/# http://or8.net/~johns >- ^!|='!"!$
iraq body count: 14,453 [min] 16,603 [max]
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From: David Kendall <xxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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I most definitely buy fewer CDs now than I did four years ago. For a while
I was buying fewer CDs because I had less money. These days I have a
little more money that I can spend on CDs, I buy more music, but I still
feel compelled to buy CDs much less frequently than I have in the past. If
I was to hazard an explanation here, I would be inclined to associate the
decline in sales of microsound/experimental CDs with the overall drop in
CD sales worldwide. I am not sure that overall economic conditions explain
this drop in CD sales, but I would imagine that explanations of why CD
sales are dropping these days in all markets might shed some light on this
issue as it relates to microsound/experimental music. Where are those
explanations, anyway?
David
On Fri, 19 Nov 2004, scott allison wrote:
> I have been thinking some, about the past thread concerning people buying
> less and less experimental cds... I wonder if it really has as much to do
> with there being to many choices/a flooded market or maybe the problem could
> also be related to the current down turn in consumer spending and the
> increasing devaluation of the US dollar, (maybe this only relates to US
> music buyers?), (we have less and less money to spend, and more and more
> people seem to be getting laid-off). Are microsounders in the US spending
> less on music now than you did four years ago, if so, do you feel its
> because you have less money or just that there is less music you want to
> purchase? How about people in other countries? Also if the US dollar
> continues to drop, imported cds will cost more (look at current exchange
> rate of US to European), possibly translating into even higher prices for
> imported discs, but that would probably mean that US discs sent to other
> countries would be cheaper because the US dollar is devalued. Am I way of
> course with my thinking here?
>
> Best
> Scott Allison
>
>
>
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>
>
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Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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that would be great if the supermarket and my landlord also had the same
feeling regarding food and rent...
john saylor wrote:
> hi
>
> ( 04.11.19 19:25 +0000 ) scott allison:
> > Are microsounders in the US spending less on music now than you did
> > four years ago,
>
> i am.
>
> > if so, do you feel its because you have less money or just that there
> > is less music you want to purchase?
>
> um, there's also a thing called the network where many musicians are
> just 'giving it away'. it's a remarkable thing- people sharing culture
> with each other without having to monetize it.
>
> try it!
>
> --
> \js ~~^##\{/# http://or8.net/~johns >- ^!|='!"!$
> iraq body count: 14,453 [min] 16,603 [max]
>
> ---------------------------------------------------------------------
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From ???@??? Fri Nov 19 20:13:15 2004
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Subject: [microsound] Chicago?
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Hi,
I just got to USA, and I feel kind of isolated, because I know nothing here.
I'm currently in Chicago. Maybe this mailing list is not really for such
topics, but maybe anyone knows some community, shops, events or etc. in
Chicago.
j
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From ???@??? Fri Nov 19 20:44:50 2004
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Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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I think there is less buying/interest here in europe also. But the
growing economic crisis (whatever the talking heads around wall street
are saying - look at the actual numbers, they just dont add up) in the
US proably makes it worse as it becomes more visible. We also have kind
of a more negative 'collective social mood' now which probably doesnt
help interest in experimental music.
Or maybe its just what we think ... anyone got some kind of stats of
microsound cd-sales?
2004-11-19 kl. 20.25 skrev scott allison:
> I have been thinking some, about the past thread concerning people
> buying less and less experimental cds... I wonder if it really has as
> much to do with there being to many choices/a flooded market or maybe
> the problem could also be related to the current down turn in consumer
> spending and the increasing devaluation of the US dollar, (maybe this
> only relates to US music buyers?), (we have less and less money to
> spend, and more and more people seem to be getting laid-off). Are
> microsounders in the US spending less on music now than you did four
> years ago, if so, do you feel its because you have less money or just
> that there is less music you want to purchase? How about people in
> other countries? Also if the US dollar continues to drop, imported cds
> will cost more (look at current exchange rate of US to European),
> possibly translating into even higher prices for imported discs, but
> that would probably mean that US discs sent to other countries would
> be cheaper because the US dollar is devalued. Am I way of course with
> my thinking here?
>
> Best
> Scott Allison
>
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>
>
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From: Matthew Mitchell <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Chicago?
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Reckless Records has some relevant stuff. If you don't mind used stuff, you can find some gems ( I found To live and Shave in LA - 30-Minuten Mannercreme, Chris Cooper - Special Bonus Thing, a Brutum Fulmen album). I don't remember an address, but it shouldn't be hard to find. (I'm actually in Philadelphia, parents live in Chicago)
-matt
Hi,
>>I just got to USA, and I feel kind of isolated, because I know nothing here.
I'm currently in Chicago. Maybe this mailing list is not really for such
topics, but maybe anyone knows some community, shops, events or etc. in
Chicago.
j
www.mattmitchell.us
Listen to free music, read the blog, sign the guestbook!
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Subject: [microsound] beautiful agnes
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hippocamp have just released their 100th release a compilation
i thought many of you would appreciate this track as a taster
it is very beautiful and really moves me
http://hippocamp.panicnow.net/hc100/part1/hc100_part1_11_agnes_by_he_can_jog.mp3
david
do go and check out the compilation > fantastic for hippocamp > great bunch
of poeple working hard to share free music
http://www.hippocamp.net
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Date: Fri, 19 Nov 2004 21:48:52 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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>> if so, do you feel its because you have less money or just that there
>> is less music you want to purchase?
>
> um, there's also a thing called the network where many musicians are
> just 'giving it away'. it's a remarkable thing- people sharing culture
> with each other without having to monetize it.
>
> try it!
I did, for years, and now I'm burnt out. I have so much free music I don't
know what to do with it all. I just threw out over a dozen CD-R's full of
mp3's of experimental music I had downloaded for free because I almost
never listened to it. And though I run a weblabel, I rarely check out
other people's weblabels because I just can't keep up with all that music.
And I know that very few people are interested in my weblabel, for
probably the same kinds of reasons.
I find I'm actually spending *more* on music now than I was a while ago.
Maybe I'm just over-compensating by creating scarcity for myself by my
limited budget, but I find I do value the music much more once I've bought
it. And this is the question I think I've always had about free culture
(in both senses of the word "free"), and which I never really resolved in
the two years I've been running my weblabel: how does free culture acquire
value? If free culture is based on abundance as opposed to scarcity, then
how do we attribute value to something that is so plentiful when we are so
used to valuing what is scarce *because* it is scarce? Is it enough to
simply exchange use value for exchange value, that is, to value music
just because it's "good" rather than because it cost a lot of money? If
so, then how do we find out what's good? How do we undertake the massive
amount of labour entailed in separating the wheat from the chaff? How many
people are willing to do that? I, for one, find that I am less willing to
do that, and it seems other people feel that same way. So how do we avoid
scaring people away from free culture with the magnitude of the task of
sorting through stuff to find something they like?
I'm not getting down on free culture, but just asking a set of questions
which I think has recently come to a head for me. Maybe the discussion of
these questions could shed some light on why people are engaging less with
experimental music in general these days?... What do people think?
P
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
{ Phil Thomson
{ home: http://www.sfu.ca/~pthomson
{ label: http://centibel.org/
{ group: http://groups.yahoo.com/group/databenders/
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.
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This is a fascinating subject…one that I’ve been
struggling with for some time now. I find that because
the tools and delivery mechanisms have become so
readily available and immediate we as users have lost
the ability to determine between the professional and
the independent.
Ultimately I think the key is in the delivery of the
art. The CD/album format is an extremely old linear
means for the creation of art. Contrasting that…the
mp3 delivery is completely non linear in it’s
delivery. I think we need to find new models or
objects for delivery. My music recommendations and new
music acquisitions are based entirely on user feedback
from my friends and collective.
In an ideal society music and art should be freely
distributed. Unfortunately we have been condition to
associate ownership with art. Breaking that consumer
association will take time.
--
+ eric.bollman
www.ericbollman.com
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From: Paul Pavlovich <xxxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] Cash for Silence?
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FILETIME=[C6EC7DE0:01C4CE8B]
Scott...Do you remember how many CDs we would order back in the day?
There was a Forced Exposure or Bent Crayon box coming every week...It was
crazy!
There was so much fresh music. Raster, Mego, 12K among countless
others...All those sounds were new. It felt so critical.
Now, frankly im burnt the fuck out...I cant stomach spending 15 + dollars
(plus postage) on a CD
that has nothing on it...How many noise CDs do you really need in your
collection? As a consumer
(and I have consumed quite a bit) have just reached my peak in taking
chances. Minimal music..Some of it is groundbreaking, moving, beautiful,
artistic...But allot of it is pure shit.
Im sick of getting suckered into the shit. Allot of artist I really like
seem to be putting out the same record over and over again...Im not buying
it.
Cheers, Call me this weekend lets talk about Henry.
Paul P.
>From: "scott allison" <xxxxxxxxx@xxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: xxxxxxxxxx@xxxxxxxxx.xxx
>Subject: [microsound] [OT] Glut of new cds of just no money to spend?
>Date: Fri, 19 Nov 2004 19:25:40 +0000
>
>I have been thinking some, about the past thread concerning people buying
>less and less experimental cds... I wonder if it really has as much to do
>with there being to many choices/a flooded market or maybe the problem
>could also be related to the current down turn in consumer spending and the
>increasing devaluation of the US dollar, (maybe this only relates to US
>music buyers?), (we have less and less money to spend, and more and more
>people seem to be getting laid-off). Are microsounders in the US spending
>less on music now than you did four years ago, if so, do you feel its
>because you have less money or just that there is less music you want to
>purchase? How about people in other countries? Also if the US dollar
>continues to drop, imported cds will cost more (look at current exchange
>rate of US to European), possibly translating into even higher prices for
>imported discs, but that would probably mean that US discs sent to other
>countries would be cheaper because the US dollar is devalued. Am I way of
>course with my thinking here?
>
>Best
>Scott Allison
>
>
>
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From: Bill Ashline <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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A few years ago, I was interested in buying as much of everything as I
could. I had shipments coming in all the time from Forced Exposure,
Anomolous, and Downtown Music Gallery, not to mention the usual
suspects. It was great getting to know a wide variety of music, and
my CD collection ballooned. But as I listened to more and more music,
my tastes started to get much more specific. I had much less of a
need to keep up with certain artists and more of a desire to buy only
the better disks. It's now almost six months since I last bought a
CD, whereas I used to spend at least 100 bucks a month on them.
Instead of getting more CDs, I've decided to invest in better
equipment to reproduce the ones I have. I will continue to purchase
CDs from time to time, but I've long lost the desire to hear
everything.
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From: andrew jones <xxxxxxxxx@xxx.xxx>
Subject: Re: [microsound] Cash for Silence?
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I agree with some of Paul's sentiments. Mego's releases a few
years back were fresh statements of what is possible with
the laptop, Line's series experimented with volume levels
and your listening habits, Raster-Norton I actually still buy
from, one problem though with a lot of these labels
is that they were distributed by EFA who would in turn service
U.S. distributors like Caroline and Forced Exposure.
Hence now that EFA has gone under labels like Mille P
and Raster-N no longer have the broad distribution
in the u.s. that allowed music shops to carry 1 to 2 copies
along with their usual caroline order. Hence it's now more
expensive for an indie-shop to carry stuff from them because
they have to get it from a smaller distro that might not distribute
as many labels that sell in high volume (I mean think about it,
when an indie shop gets the new Drag City release, they could
also get a few of the Mille Plateux CDs for almost nothing in the deal.)
Also, keep in mind Caroline has reps that go around and sell cds
direct to stores, giving stores in store promos and other things.
~Scape has noticed their u.s. sales go down a bit since
the EFA/ Caroline deal went under, I mean have you seen But Then
Again in a local music store recently? I haven't.
And then, yeah a lot of experimental micro-sound stuff
is just lacking in new ideas and tech-house is losing
ground in the freshness category too as labels like BPITCH
and such are starting to dominate the u.s. market for
new good electronic music.
Peace,
A
On Nov 19, 2004, at 6:01 PM, Paul Pavlovich wrote:
> Scott...Do you remember how many CDs we would order back in the day?
> There was a Forced Exposure or Bent Crayon box coming every week...It
> was crazy!
> There was so much fresh music. Raster, Mego, 12K among countless
> others...All those sounds were new. It felt so critical.
>
> Now, frankly im burnt the fuck out...I cant stomach spending 15 +
> dollars (plus postage) on a CD
> that has nothing on it...How many noise CDs do you really need in your
> collection? As a consumer
> (and I have consumed quite a bit) have just reached my peak in taking
> chances. Minimal music..Some of it is groundbreaking, moving,
> beautiful, artistic...But allot of it is pure shit.
>
> Im sick of getting suckered into the shit. Allot of artist I really
> like seem to be putting out the same record over and over again...Im
> not buying it.
>
> Cheers, Call me this weekend lets talk about Henry.
> Paul P.
>
>
>
>
>> From: "scott allison" <xxxxxxxxx@xxxxxxx.xxx>
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: xxxxxxxxxx@xxxxxxxxx.xxx
>> Subject: [microsound] [OT] Glut of new cds of just no money to spend?
>> Date: Fri, 19 Nov 2004 19:25:40 +0000
>>
>> I have been thinking some, about the past thread concerning people
>> buying less and less experimental cds... I wonder if it really has as
>> much to do with there being to many choices/a flooded market or maybe
>> the problem could also be related to the current down turn in
>> consumer spending and the increasing devaluation of the US dollar,
>> (maybe this only relates to US music buyers?), (we have less and less
>> money to spend, and more and more people seem to be getting
>> laid-off). Are microsounders in the US spending less on music now
>> than you did four years ago, if so, do you feel its because you have
>> less money or just that there is less music you want to purchase? How
>> about people in other countries? Also if the US dollar continues to
>> drop, imported cds will cost more (look at current exchange rate of
>> US to European), possibly translating into even higher prices for
>> imported discs, but that would probably mean that US discs sent to
>> other countries would be cheaper because the US dollar is devalued.
>> Am I way of course with my thinking here?
>>
>> Best
>> Scott Allison
>>
>>
>>
>> ---------------------------------------------------------------------
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>>
>
>
>
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>
Andrew Jones
912 Euclid Ave.
Birmingham, AL, 35213
407-927-7607
aim: liminal18
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From: Peter Coyte <xxxxx.xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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It would be a great shame if the great statement of the album format
disappeared because of the mp3 via internet took over but maybe one can
make a point in a shorter period of time, share it and keep the real
deal for the live performance or personalised compilations.
Sustaining a sonic/musical career by selling cds is not viable - it's
an outdated promotional device. Every now & again someone from an art
movement may break into the mainstream i.e. make a living but that
should not be the motivation for creating.
Artists buying other artist's work doesn't sustain much -we should
share and inspire each other. As for choosing what may inspire us to
part with our cash we do need people like the late great John Peel to
sift through the crap and present us with a worthwhile selection.
On 19 Nov 2004, at 22:35, Eric b wrote:
> This is a fascinating subject
> one that I’ve been
> struggling with for some time now. I find that because
> the tools and delivery mechanisms have become so
> readily available and immediate we as users have lost
> the ability to determine between the professional and
> the independent.
>
> Ultimately I think the key is in the delivery of the
> art. The CD/album format is an extremely old linear
> means for the creation of art. Contrasting that
> the
> mp3 delivery is completely non linear in it’s
> delivery. I think we need to find new models or
> objects for delivery. My music recommendations and new
> music acquisitions are based entirely on user feedback
> from my friends and collective.
>
> In an ideal society music and art should be freely
> distributed. Unfortunately we have been condition to
> associate ownership with art. Breaking that consumer
> association will take time.
>
>
> --
> + eric.bollman
> www.ericbollman.com
>
>
>
>
> __________________________________________________
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>
>
Peter Coyte
http://www.petercoyte.co.uk
http://www.saltpeter.co.uk
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Date: Fri, 19 Nov 2004 18:37:05 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] glut of new cds -- & writing about them
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ola,
This discussion has been interesting for me. It offers points of correlation
to other registers such as writing ..
As someone who occasionally writes about sound, and thus receives promos,
I've been overwhelmed by the flood of releases for about two years now. I
still have CDs from 2002 I am catching up on.
I've tried different tactics to handle it -- ie discussing releases in
batches, as an essay, attempting to articulate links and discontinuities,
new approaches and general ones, but most publications carry the
narrow-minded perspective that the only way to write about music is in a
review. They generally shun essays and columns, ie what they tend to call
"thinkpieces."
There is a tendency among reviews to end up either as banal as the most
banal release or they take so much energy to write (in terms of saying
something as evocative _as_ a good release) that it drains the most
vitriolic writer's patience and energy. (I'm guilty of both).
I'd like to see a remix of the oldskool style aesthetic essays floating
around at the turn of the 20th century. The Wire does a bit of this (as well
as e/I a bit), but most magazines (Grooves, etc) do not. The reason is that
the writers are generally incapable of writing in such a style and the
editors generally incapable of recognising it.
It's rare because it requires the writer to have a kind of encyclopaedic yet
intuitive feel for directions in sound as well as the ability to cite and
reference quickly and with effect. In other words, it requires that the
writer navigate knowledge and talent as well as the tools to draw
comparisons if not forge frameworks for analysis, critique and praise that
are foreign (np. the recent discussion here on 'beauty').
What has frustrated me to no end is the denigration of such approaches in
favour of quotidian soundbyte "reviews" and ceaseless, rewritten press
release "face-interviews" that mean little and do nothing to explore the
aesthetic, historical as well as ethico-politico dimensions of all forms of
sound.
Writing, in this sense, has flattened itself to the medium of television.
Those who struggle against it -- I'm thinking of Phillip Sherburne, Kodwo
Eshun, for example--are to be praised. However I have the impression that
the '90s era of fascinating electronic music writing--and thus perhaps of
innovative releases as well--is over: now we find ourselves surrounded by an
increasingly conservative atmosphere sinking both the publication and
presentation of discourse and sound.
This isn't surprising: a cursory historical evaluation of any
sound-discourse nexus reveals that after the freaks come the bureaucrats,
with their little paper castles filled with rules and procedure, telling us
what the audience can and cannot understand.
Hail! .. whatever ruptures from this mediocrity ..
cheers,
tobias
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
ICQ: 18766209 | AIM: thesaibot +++
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Subject: Re: [microsound] beauty
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On Thu, 18 Nov 2004 17:29:13 +0100, xxxxxxxx@xxxxxxx.xx
<xxxxxxxx@xxxxxxx.xx> wrote
> I think also that one of the main elements that make this disc exciting
> is that it expresses beauty, and goes beyond a rational idea of aesthetics.
> i think also that one of the most recurrent peculiarities of experimental
> electronica, especially in the last period of time, is that it is highly
> conceptual. so conceptual that many times experimentation does not leave
> room to beauty (and not aesthetics).
> it's a big topic, but don't you think that beauty still deserves a primary
> role, intended as an harmonic objective in the musical piece of art production
> experience?
Well, it really depends on how we define "beauty," Eva. To some, the
very idea of an experimental/conceptual/"unbeautiful" (in a certain
generally accepted sense) musical production is for some listeners
rather "beautiful" even if it isn't for you. The notion of the
beautiful as the ultimate aim of aesthetic inquiry was found to be too
limiting for many twentieth century aestheticians and
composers/improvisers to cover what people could do with sound. the
aesthetics of microsound might not always be considered beautiful
according to some people (in fact quite ugly in some cases--sine waves
for example--though I happen to love them), but even then microsound
is no less of an "aesthetic" strategy and approach, even if one finds
little personal satisfaction in some of the productions.
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From ???@??? Sat Nov 20 04:48:50 2004
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Date: Fri, 19 Nov 2004 22:54:45 -0500
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Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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hi
( 04.11.19 21:48 +0000 ) Phil Thomson:
> how does free culture acquire value?
how does *culture* acquire value? can it be marketed to you?
what does it mean for something to have an acknowledged value as part of
a given culture?
> If free culture is based on abundance as opposed to scarcity, then
> how do we attribute value to something that is so plentiful when we are so
> used to valuing what is scarce *because* it is scarce?
i don't think free culture is based on abundance. i can see how it seems
that way, as one part of it emphasizes an exchange without payment
[sharing] as an important interaction between people. and so, if you
don't have to pay for something, and you like it, or like the person
making it, or have some kind of an axe to grind, or one of ten thousand
other reasons; you can share it with other people as well. and we have
so many ways to duplicate all kinds of information very rapidly. so this
gets an abundance of stuff out there- because people like to make
culture and share it and talk about it [if anyone else is interested].
however, i don't think the economic models of 'supply and demand'
[abundance and scarcity] translate to culture very well. i think this
model distorts what happens with culture [you understand something about
being alive] and reduces it to a consummer/producer relationship that
takes all the best parts out of it.
--
\js http://or8.net/~johns /&& |*(<*"=.. ` {
iraq body count: 14,453 [min] 16,603 [max]
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Date: Sat, 20 Nov 2004 08:20:40 +0100
From: Micard <xxxxxxx@xxxx.xx>
Subject: [microsound] Interzone Radio Show playlist + Submissions
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Hello list,
Interzone is the new radio show of mutant music, broadcasted once every
two Fridays, from 9PM to 11PM CET on Coloriage (103.9) in north
Burgundy, France, and streamed live on www.coloriage.fr . The playlist
from Interzone #1, broadcasted on the 19th of November was :
1. ARTIST : VS_Price
TRACK : Palm
ALBUM : Calin Minette
LABEL : Expanding Rec.
2. ARTIST : Haïku
TRACK : 2
ALBUM : Synthese
LABEL : Parametric
3. ARTIST : Cordell Klier
TRACK : 4
ALBUM : Winter
LABEL : Ad Noiseam
4. ARTIST : Fennesz
TRACK : Transit
ALBUM : Venice
LABEL : Touch
5. ARTIST : Plumbline
TRACK : 11E 52
ALBUM : Pin Points
LABEL : Hydrogen Dukebox
6. ARTIST : Mitchell Akiyama
TRACK : With Hope that (for Steve Reich)
ALBUM : If Night is a Weed and Days grows less
LABEL : Sub Rosa
7. ARTIST : Philip Jeck
TRACK : Some Pennies
ALBUM : 7
LABEL : Touch
8. ARTIST : Pixel
TRACK : Scrapple from the Apple
ALBUM : V/A A1
LABEL : Raster-Noton
9. ARTIST : Andrey Kiritchenko
TRACK : Raison d'être
ALBUM : Interplays in Betweens
LABEL : Ad Noiseam
10. ARTIST : Morthem Vlade Art
TRACK : My Ear at Night
ALBUM : Photography in Things
LABEL : Pandaimonium
11. ARTIST : Ab Ovo
TRACK : Moments
ALBUM : Le Temps suspendu...
LABEL : Ant-Zen
12. ARTIST : Lullatone
TRACK : Leaves Falling
ALBUM : Little Songs about Raindrops
LABEL : Plop
13. ARTIST : Dither
TRACK : Amek 7
ALBUM : Amek
LABEL : M-Tronic
14. ARTIST : Headphone Science
TRACK : Air Bubble Material
ALBUM : We remain faded
LABEL : No Type
15. ARTIST : Scanner
TRACK : Thulium Hymn
ALBUM : V/A Bip Hop Generation v.6
LABEL : Bip-Hop
16. ARTIST : Maps + Diagrams
TRACK : Vacado
ALBUM : Polytuft-Tech
LABEL : Expanding Rec.
17. ARTIST : Henrik N. Björkk
TRACK : Not one of you 1
ALBUM : I end Forever
LABEL : Horch
18. ARTIST : Davide Balula
TRACK : En jet de soude
ALBUM : Pellicule
LABEL : Active Suspension
19. ARTIST : Désormais
TRACK : No Mysteries can be tolerated
ALBUM : iambrokenandremadeiambroken
LABEL : Intr_version
20. ARTIST : Matt Elliott
TRACK : The Sinking Ship Song
ALBUM : The Mess we're in
LABEL : Domino
21. ARTIST : Hazard
TRACK : Pylon
ALBUM : Wood
LABEL : Ash
22. ARTIST : Wai Pi Wai
TRACK : Blue Voice
ALBUM : Wai Pi Wai
LABEL : Hands Productions
23. ARTIST : Photophob
TRACK : The Starlight Eaters
ALBUM : Your Majesty Machine
LABEL : Hive Records
24. ARTIST : Emotional Joystick
TRACK : Eight
ALBUM : Bellicose Pacific
LABEL : Zod Records
25. ARTIST : Hypnoskull vs. Needle Sharing
TRACK : Shift Break
ALBUM : Dark Skies over planet e
LABEL : Ant-Zen
26. ARTIST : Coil
TRACK : Windowpane
ALBUM : Windowpane EP
LABEL : Torso
Next show : December the 3rd
************************
We happily accept all submissions for broadcast that can be sent on
CD/CDR/LP/EP/MD to the adress below
Jean-Francois Micard
Interzone
1bis, rue Riveau
21150 Ménétreux le Pitois
France
JF
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From ???@??? Sat Nov 20 09:48:27 2004
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From: david <xxxxx@xxxxxxxxxx.xxx>
Subject: Re: [microsound] mp3s are killing the cd market..
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i don't think so.
cdr and mp3s are only the technological updates of the old cassette. back in the eighties we duplicated vinyls on tapes but that did not kill in any way the vinyl sales.
the problem is that very few labels are trying to understand the evolution of the music market.
simply selling a cd in a poor jewel-case without any added aesthetic/conceptual content is not enough anymore. the packaging is much more important these days and i think that an extra effort from the labels to do a better design of their releases is needed.
this makes a product stand-out from the flood of releases and gives that surplus value that a "normal" cd cannot have.
do you think that a burned-to-cdr copy of the phonometrography releases could have any sense?
david.
http://www.microsuoni.com
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From: Dale Lloyd <xxxxx@xxx-xxx.xxx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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--Boundary_(ID_lGVER613Jm57VyV+eTFMeA)
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I DO NOT buy less CDs than I used to. SO THERE! :-)
I believe that people bore themselves and then blame it on things like
a "glut of CDs" or a "lack of new ideas".
As mentioned before, what I've noticed are high CD prices.
If some labels are complaining about a lack of cash flow, then one place to look is at their prices (including shipping).
As for file sharing versus buying CDs, I agree with Graham Miller.
If you have no qualms about paying for things like cigarettes, beer
or Cheetos, then what's the big deal about commerce in music?
The only problem I see with money is in how it's perceived.
It's often looked at as either an "evil thing" or the most desired thing
in a person's life, when in reality, it's really just a neutral manifestation of energy flowing through people's lives. Nothing more, nothing less.
Ok, my self-help workshop is over. ;-)
Best, Dale
--Boundary_(ID_lGVER613Jm57VyV+eTFMeA)--
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Date: Sat, 20 Nov 2004 10:50:59 +0000
From: eric namour <xxxx@xxxxxxx.xx.xx>
Subject: [microsound] last call: CONSTRUCTION SONOR_LONDON | tonight
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for any of those checking emails in this gray-ish london saturday. Try
to join us for a nice (free) swiss buffet opening a night of
performances and closing dj set.
best
e/n
--
CONSTRUCTION SONOR: 'a sonic journey beneath the Alps'
Bernd_Schurer, Steinbrüchel, Günter_Müller, Marcus_Maeder
-
Sat 20 Nov | Horse Hospital | 6pm-2am
Russell sq | London wc1n ahx | UK
£5 contribution (with swiss buffet, talk, live audio performances,
screenings)
-
event's page: http://www.no-signal.net/cs (brief infos below)
[media partner: Kultureflash --> check the article here:
http://www.kultureflash.net/current/#event2250
.
[featured on the recent Wire magazine 'Special Events' section of The
Conduit:
http://www.thewire.co.uk/news/uk_special.php
.
[recommended by BBC Experimental:
http://www.bbc.co.uk/music/experimental/
.
[part of events of the week on Intuitive Music:
http://www.intuitivemusic.com/index.php
|||
++PROGRAM
6.00pm: introduction of Gallerie / Construction Sonor project
7.00 - 8.00: refreshments (Swiss buffet)
8.30: LIVE AUDIO performances:
B E R N D S C H U R E R [zurich / domizil]
(field recordings_piano_computer)
http://www.no-signal.net/cs/art1.html
-
S T E I N B R Ü C H E L [zurich / synchron | line | list]
(drone/minimal laptop compositions)
http://www.no-signal.net/cs/art2.html
-
G Ü N T E R M Ü L L E R [basel / for4ears][br]
(percussion | improvised_electronics)[br]
http://www.no-signal.net/cs/art3.html
-
M A R C U S M A E D E R [Zurich / domizil]
(processed field recordings)
http://www.no-signal.net/cs/art4.html
--
++VIDEO program by
URSULA PALLA
http://www.palla.ch
and a multi-screening projection of the Tunnel Construction
|||||||||||
---
incoming [no.signal]
THUR 25/11: state51 extension is back with is 4th edition presenting an
evening of guitar drone, processed drums and live code performances
with dean roberts, Kapital Band 1 and TOPLAP acts by Tablex, Klippav,
Nebogeo
check www.no-signal.net/xtns4
|||
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From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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hi
( 04.11.20 02:01 -0800 ) Dale Lloyd:
> The only problem I see with money is in how it's perceived.
> when in reality, it's really just a neutral manifestation of energy
> flowing through people's lives. Nothing more, nothing less.
[insert 3 loud seconds of square wave convoluted with pink noise sound
here]
if you're joking, i missed it. [possible]
if not, i just can't go along with this. the flow of money is not
natural, it is contrivied. people hoard it- it *doesn't* flow.
i do agree, though, that our perception of money [and just about
everything else] makes it more or less problematic.
--
\js <^]><:-~[ ][*.&]#;& : http://or8.net/~johns
iraq body count: 14,454 [min] 16,604 [max]
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From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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One aspect not mentioned by our beloved music industry concerning the
declining cd sales: with the invention of the cd format and the
rereleases everybody inclusive me in the 80ies and later, bought the
stuff again what we had already on vinyl. Thats why the cd sales were
incredible high in the 80-90s and had to decline.
Cheers,
Malte
--
Malte Steiner
media art + development
-www.block4.com-
blog 4, also available as rss feed:
http://java.block4.com/blog4/
next events:
26.november workshop 3d modelling for max/msp jitter
Musikhochschule Hamburg, Germany
26.november concert Elektronengehirn
hoerbar Hamburg, Germany
media art exhibition
9.-15. december Hamburg
http://block4.com/nachweisbar/
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Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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On Sat, 20 Nov 2004 02:01:43 -0800 (PST), Dale Lloyd <xxxxx@xxx-xxx.xxx> wrote:
> I believe that people bore themselves and then blame it on things like
> a "glut of CDs" or a "lack of new ideas".
There was a time when one looked forward to a new release with great
anticipation. there was both a build up and a wait. Sometimes many
years. Not anymore. People release stuff all the time and the
technology allows it to happen. People end up producing too much,
just as writers write too much now because of the facility afforded by
computers. While microsound is certainly not reducible to minimalism,
there are some points of convergence. I wish sometimes that people
were as minimal about their releases as they are with their music.
Spend more time perfecting the recording and then put more effort into
making the release worthy for purchase, i.e. not a CDR, but an actual
CD with serious attention paid to the visual accompaniment and the
text. I admire someone like John Wall, for example, who has a pretty
limited discography and spends years working on the minutiae of one
single CD.
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On Sat, 20 Nov 2004 15:19:37 +0100, Malte Steiner <xxxxxxx@xxxxxx.xxx> wrote:
> One aspect not mentioned by our beloved music industry concerning the
> declining cd sales: with the invention of the cd format and the
> rereleases everybody inclusive me in the 80ies and later, bought the
> stuff again what we had already on vinyl. Thats why the cd sales were
> incredible high in the 80-90s and had to decline.
If the industry is worried about declining sales, it first needs to
recognize the ease by which music is proliferating these days, and I'm
not talking about illegal downloads, but rather people putting out
their own CDs and MP3s. People can find plenty to listen to already
without illegal downloads. Secondly, the industry needs to put some
effort into making people more interested in audiophilia rather than
MP3--more showrooms and promotion, for example. It should finally
make a decision on the new format, which will probably be SACD. A
company like Sony, for instance, can readily produce incredible
recordings on SACD and then produce players that reach the midfi
market. Once people start hearing SACD on a broader array of
recordings, they'll start throwing their MP3s in the trash and the
industry will start making money again, not that that's a particularly
happy thought, but it will certainly be better than prosecuting
grannies in California, whose granddaughters download music files on
their computers.
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----- Original Message -----
From: Jurgis G. Alvikas
Sent: Friday, November 19, 2004 2:13 PM
To: xxxxxxxxxx@xxxxxxxxx.xxx
Subject: [microsound] Chicago?
Hi,
I just got to USA, and I feel kind of isolated, because I know nothing here.
I'm currently in Chicago. Maybe this mailing list is not really for such
topics, but maybe anyone knows some community, shops, events or etc. in
Chicago.
j
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j
reckless is on milwaukee ave about three or so blocks south of north avenue, on the west side of the street. sadly, much of the goings on in chi-town stray away from the area of music this list is devoted to, but that's not to say there isn't a bunch of great stuff going on. pick up the reader (free newspaper located all over) that's a decent way to keep up.
since chicago's pretty huge, it all depends on what neighborhood you're currently staying in. i like to think there's little hidden gems all over the city, so if you let me know your basic coordinates, i might be able to find you some interesting goings on. i hope you enjoy your stay in this city i love. (i'm starting to sound like a travel agent)
jm
as for beauty, i've long felt that while beauty is completely subjective, evereything in life works best in its own reverse. thus, beauty cannot be appreciated without ugliness, etc. I try to make a concscious effort to include melody in what i do because that is my benchmark of beauty. for someone else it may be sine waves, others the sound of a thousand crashing hard drives. but i think whatever it is we do, we need to see it as beautiful to keep us involved. beauty always has its place. i like to think of it as "familiarity" vs. "unknown." to me, the most interesting sounds combine them. just my take on it.
and your english is way better than most ameicans, by the way.
jm
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Subject: Re: [microsound] Chicago and beauty (killing two birds with one stone)
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mondays at dannys is the local electronica night.
might be able to meet some like minded folks although
yeah it's not exactly in line with this mailing list =)
Peace,
A
On Nov 20, 2004, at 10:26 AM, Jeffrey Matz wrote:
>
>
> ----- Original Message -----
> From: Jurgis G. Alvikas
> Sent: Friday, November 19, 2004 2:13 PM
> To: xxxxxxxxxx@xxxxxxxxx.xxx
> Subject: [microsound] Chicago?
>
>
> Hi,
>
> I just got to USA, and I feel kind of isolated, because I know nothing
> here.
> I'm currently in Chicago. Maybe this mailing list is not really for
> such
> topics, but maybe anyone knows some community, shops, events or etc. in
> Chicago.
>
> j
>
> _________________________________________________________________
> Don't just search. Find. Check out the new MSN Search!
> http://search.msn.click-url.com/go/onm00200636ave/direct/01/
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
> j
> reckless is on milwaukee ave about three or so blocks south of north
> avenue, on the west side of the street. sadly, much of the goings on
> in chi-town stray away from the area of music this list is devoted to,
> but that's not to say there isn't a bunch of great stuff going on.
> pick up the reader (free newspaper located all over) that's a decent
> way to keep up.
> since chicago's pretty huge, it all depends on what neighborhood
> you're currently staying in. i like to think there's little hidden
> gems all over the city, so if you let me know your basic coordinates,
> i might be able to find you some interesting goings on. i hope you
> enjoy your stay in this city i love. (i'm starting to sound like a
> travel agent)
> jm
> as for beauty, i've long felt that while beauty is completely
> subjective, evereything in life works best in its own reverse. thus,
> beauty cannot be appreciated without ugliness, etc. I try to make a
> concscious effort to include melody in what i do because that is my
> benchmark of beauty. for someone else it may be sine waves, others the
> sound of a thousand crashing hard drives. but i think whatever it is
> we do, we need to see it as beautiful to keep us involved. beauty
> always has its place. i like to think of it as "familiarity" vs.
> "unknown." to me, the most interesting sounds combine them. just my
> take on it.
> and your english is way better than most ameicans, by the way.
> jm
>
Andrew Jones
912 Euclid Ave.
Birmingham, AL, 35213
407-927-7607
aim: liminal18
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Subject: Re: [microsound] mp3s are killing the cd market..
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On Nov 20, 2004, at 4:25 AM, david wrote:
> i don't think so.
> cdr and mp3s are only the technological updates of the old cassette.
> back in the eighties we duplicated vinyls on tapes but that did not
> kill in any way the vinyl sales.
>
actually in the 70s the music industry noticed a large loss in sales
when people began to tape trade. they got laws passed so that no one
could
play the entirety of an LP on radio which was kinda like file sharing,
someone would play both sides of an album and you taped it. What in the
end kept
the fight from continuing on was MTV, when MTV arrived sales
sky-rocketed and a few
kids dubbing cassettes no longer was a big concern. They had all the
usual stuff like
rock stars urging you to not tape stuff etc.
> the problem is that very few labels are trying to understand the
> evolution of the music market.
> simply selling a cd in a poor jewel-case without any added
> aesthetic/conceptual content is not enough anymore. the packagingis
> much more important these days and i think that an extra effort from
> the labels to do a better design of their releases is needed.
True, but I always find the concept that mp3s are "better" than cds is
like claiming
a second generation tape dub is better than an LP. I think a new format
would be
better, something that guarantees a higher quality in sound while being
able to store
videos, multimedia, and fit easily in something the size of your ipod,
hey maybe even
by able to hold your mp3s.
> this makes a product stand-out from the flood of releases and gives
> that surplus value that a "normal" cd cannot have.
>
> do you think that a burned-to-cdr copy of the phonometrography
> releases could have any sense?
>
> david.
>
> http://www.microsuoni.com
>
>
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Andrew Jones
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Birmingham, AL, 35213
407-927-7607
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From: Anthony Saunders <xxxxxxx@xxxxxxxxxxx.xxx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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for those of us "old" enough to be remember how exciting the first time
we heard Oval, Mego, 12k, or any of the other seminal microsound
releases, there are two thing to keep in mind:
1. We've been listening to this stuff for a while, so naturally we are
more critical than we used to be, and have likely developed more
specific tastes.
2. The genre/trend/fad has been around long enough to develop into it's
own cliches, and to amass a large group of people who think of their
work as being part of the genre/trend/fad. This is not bad or good, it
just means there is a lot more out there.
Both of these collude to make us "old jaded farts".
Anthony
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Date: Sat, 20 Nov 2004 11:37:11 -0500
From: andrew jones <xxxxxxxxx@xxx.xxx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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>
what makes no sense to me is that p2p stuff lets you directly
reach the people who are listening to your music. I don't see
why Soulseek, Kazaa, or others don't sell keywords and partner
up with online stores like pitck fork has with insound. hence if you
download
something, and you like it, purchasing is only one click away
instead of having to drive to local store, special order, and then
wait 2 weeks for them find a distro with it and order it along with
their other stuff, or try and find a distro carrying what you like.
> If the industry is worried about declining sales, it first needs to
> recognize the ease by which music is proliferating these days, and I'm
> not talking about illegal downloads, but rather people putting out
> their own CDs and MP3s. People can find plenty to listen to already
> without illegal downloads. Secondly, the industry needs to put some
> effort into making people more interested in audiophilia rather than
> MP3--more showrooms and promotion, for example. It should finally
> make a decision on the new format, which will probably be SACD. A
> company like Sony, for instance, can readily produce incredible
> recordings on SACD and then produce players that reach the midfi
> market. Once people start hearing SACD on a broader array of
> recordings, they'll start throwing their MP3s in the trash and the
> industry will start making money again, not that that's a particularly
> happy thought, but it will certainly be better than prosecuting
> grannies in California, whose granddaughters download music files on
> their computers.
>
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>
Andrew Jones
912 Euclid Ave.
Birmingham, AL, 35213
407-927-7607
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Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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>It would be a great shame if the great statement of the album format
>disappeared because of the mp3 via internet took over but maybe one
>can make a point in a shorter period of time, share it and keep the
>real deal for the live performance or personalised compilations.
i have to disagree with this. why is live performance looked on as
some kind of "real deal"? the creation of sound art in a recorded
medium is just as valid. in fact it seems strange to see this kind
of sentiment on a list like this. shows and recordings are two
different things and both deserve to survive. there are some artists
who simply craft recordings the way painters work on paintings - it's
a slow process, and not exciting to watch. other artists thrive on
live performance but can't make a decent record to save their life.
still others can balance both.
on the audience side, there are people who are never able to see a
show (perhaps for monetary or geographic reasons), or simply don't
like going to concerts.
>Sustaining a sonic/musical career by selling cds is not viable -
>it's an outdated promotional device. Every now & again someone from
>an art movement may break into the mainstream i.e. make a living but
>that should not be the motivation for creating.
i agree with the second half just as strongly as i disagree with the
first. of course making money from music is not the motivation for
creating. true artists create because we have to, because to not
create makes us very unhappy. but if an artist is pouring their
resources into their work, and people use it for entertainment or
commercial purposes, why shouldn't we be compensated for that?
and calling CDs a "promotional device" is off the mark and seems to
go along with the live "real deal" comment. CDs are a medium, and a
fairly trusty yet easily replaceable and portable one at that. just
because the technology is old by now doesn't make it outdated. no
other format balances the various artistic and consumer issues as
well.
>Artists buying other artist's work doesn't sustain much -we should
>share and inspire each other. As for choosing what may inspire us to
>part with our cash we do need people like the late great John Peel
>to sift through the crap and present us with a worthwhile selection.
this is true. i've commonly traded works with other artists. it
feels good. and people like peel are invaluable, as are good writers
for publications such as the wire.
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on 11/19/04 1:20 PM, GrahamWakefield at xxxxxx@xxxxxxx-xxxxx.xxx wrote:
> There are many kinds of beauty, or rather, many ways to behold beauty. The
> kind of beauty beheld that equates to truth is no more oppressive and
> exclusive than your idea of opposing it with an aesthetics of failure.
>
> What I find most beautiful of all is that which transcends such divisions, a
> beauty not found by diverging from the existent (because divergence will
> only find more of the existent) but found by creating/discovering something
> completely beyond the +/- of the existent. I would hope that a post-x
> aesthetics would focus on this kind of beauty if it cares to name it beauty.
>
> On 19/11/04 9:39 am, "tasty radish" <xxxxxxxxxxx@xxxxx.xxx> wrote:
>
>>
>>
i think of beauty as "balance" of opposing forces...and all the little light
and dark "mysterious" forces "within" that seem to make the center point
entertaining. Might seem a little black and white, but hey.
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From ???@??? Sat Nov 20 18:33:12 2004
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Date: Sat, 20 Nov 2004 18:33:05 +0000 (UTC)
From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [spam] iBook/Powerbook RAM for sale
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Hi all,
1 memory module for iBook/Powerbook for sale. 144-pin, PC133, 256 MB.
According to www.mantek.mb.ca, this will fit the following Mac notebook
computers:
# iMac G4 (flat panel LCD) user accessible slot
# PowerBook Titanium G4/1GHz
# PowerBook Titanium G4/867MHz
# PowerBook Titanium G4/800MHz
# PowerBook Titanium G4/667MHz
# PowerBook Titanium G4/550MHz
# PowerBook Titanium G4/500MHz
# PowerBook Titanium G4/400MHz
# PowerBook G3/500MHz with FireWire (Pismo)
# PowerBook G3/400MHz with FireWire (Pismo)
But it came out of my 700 MHz G3 iBook, so go figure.
Asking $100 CAD (approximately $83 USD). I'm in Canada, so ask me about
shipping if you're out of the country.
P
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
{ Phil Thomson
{ home: http://www.sfu.ca/~pthomson
{ label: http://centibel.org/
{ group: http://groups.yahoo.com/group/databenders/
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.
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From ???@??? Sat Nov 20 19:03:33 2004
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From: precursor <xxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] [spam] iBook/Powerbook RAM for sale
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on 11/20/04 1:33 PM, Phil Thomson at xxxxxxxx@xxxxxxxxx.xxx wrote:
> Hi all,
>
> 1 memory module for iBook/Powerbook for sale. 144-pin, PC133, 256 MB.
> According to www.mantek.mb.ca, this will fit the following Mac notebook
> computers:
>
> # iMac G4 (flat panel LCD) user accessible slot
> # PowerBook Titanium G4/1GHz
> # PowerBook Titanium G4/867MHz
> # PowerBook Titanium G4/800MHz
> # PowerBook Titanium G4/667MHz
> # PowerBook Titanium G4/550MHz
> # PowerBook Titanium G4/500MHz
> # PowerBook Titanium G4/400MHz
> # PowerBook G3/500MHz with FireWire (Pismo)
> # PowerBook G3/400MHz with FireWire (Pismo)
>
> But it came out of my 700 MHz G3 iBook, so go figure.
>
> Asking $100 CAD (approximately $83 USD). I'm in Canada, so ask me about
> shipping if you're out of the country.
>
> P
>
>
>
> +~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
> { Phil Thomson
> { home: http://www.sfu.ca/~pthomson
> { label: http://centibel.org/
> { group: http://groups.yahoo.com/group/databenders/
> +~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
>
> SDF Public Access UNIX System
> http://www.freeshell.org/
> Geekier than you since 1987.
>
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>
who manufactures it??? just curious , would it be a good idea to mix
different ram chips , especially if they run different bus speeds???
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From: izam studio <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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i also buy as many as ever.
----- Original Message -----
From: "Dale Lloyd" <xxxxx@xxx-xxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, November 20, 2004 10:01 AM
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
> I DO NOT buy less CDs than I used to. SO THERE! :-)
>
> I believe that people bore themselves and then blame it on things like
> a "glut of CDs" or a "lack of new ideas".
>
> As mentioned before, what I've noticed are high CD prices.
> If some labels are complaining about a lack of cash flow, then one place
to look is at their prices (including shipping).
>
> As for file sharing versus buying CDs, I agree with Graham Miller.
> If you have no qualms about paying for things like cigarettes, beer
> or Cheetos, then what's the big deal about commerce in music?
>
> The only problem I see with money is in how it's perceived.
> It's often looked at as either an "evil thing" or the most desired thing
> in a person's life, when in reality, it's really just a neutral
manifestation of energy flowing through people's lives. Nothing more,
nothing less.
>
> Ok, my self-help workshop is over. ;-)
>
> Best, Dale
>
>
>
>
>
>
>
>
>
>
>
>
>
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From ???@??? Sat Nov 20 19:14:40 2004
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From: izam studio <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] return of metaphysics
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> i think of beauty as "balance" of opposing forces...and all the little
light
> and dark "mysterious" forces "within" that seem to make the center point
> entertaining. Might seem a little black and white, but hey.
spot on , though i do find a flower or a sunrise or a smile more beautifull
than a bomb or a dead childs image from iraq . . . . I equate beauty to
feeling happy , at one , still , timeless and carefree and spirited but
there is indeed no black or white at a given point and the 2 forces and
duality we exist within is essential for contrast and until we lose duality
its forever going to be up and down , there is a beauty to this chaotic
world and suffering but maybe only when we see whats behind it all , i hope
theres a happy ending :)
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From ???@??? Sat Nov 20 21:00:43 2004
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From: izam studio <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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I also speak with a fair few labels and have released on some.SALES are down
by all about 15-20 % but none have gone out of business and still make money
and in actaul fact due to not having to reply on distributers and poor
prices they pay for cds and instead having a new direct sales market via the
web many labels are making just as much and quicker ! .Its justa transition
period , people will buy cds until they lose all sense of material want ,
do you see humanity doing that soon ? everyone paints a personal picture of
reality .Seems its just that the cd buyers have more choice and more crap to
sift through also.People do get bored and i do but i also find MANY labels
have become way to dependant on pleasing dj's or creating what they see has
sure fire sellers and the opposite has happened.For me its all an evolution
and what can we do ? be positive and if you make music make good music and
sell direct as possible and to people .
----- Original Message -----
From: "izam studio" <xxxxxxxx@xxxxx.xx.xx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, November 20, 2004 6:58 PM
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
> i also buy as many as ever.
>
> ----- Original Message -----
> From: "Dale Lloyd" <xxxxx@xxx-xxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Saturday, November 20, 2004 10:01 AM
> Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
>
>
> > I DO NOT buy less CDs than I used to. SO THERE! :-)
> >
> > I believe that people bore themselves and then blame it on things like
> > a "glut of CDs" or a "lack of new ideas".
> >
> > As mentioned before, what I've noticed are high CD prices.
> > If some labels are complaining about a lack of cash flow, then one place
> to look is at their prices (including shipping).
> >
> > As for file sharing versus buying CDs, I agree with Graham Miller.
> > If you have no qualms about paying for things like cigarettes, beer
> > or Cheetos, then what's the big deal about commerce in music?
> >
> > The only problem I see with money is in how it's perceived.
> > It's often looked at as either an "evil thing" or the most desired thing
> > in a person's life, when in reality, it's really just a neutral
> manifestation of energy flowing through people's lives. Nothing more,
> nothing less.
> >
> > Ok, my self-help workshop is over. ;-)
> >
> > Best, Dale
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
>
>
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Subject: [microsound] To glut or not to glut
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I've been running a small experimental label since the mid 80's taper days
and I have come to a few conclusions on this issue:
As one who runs a label I have found that there is NO MONEY in this unless
you release an artist that people are interested in (whether you want to release
them because it's good music is not the point since we're talking money here
and not quality). The only time my label has made any money at all is when I
have released one of the so-called "famous" artists.
Even the experimental "scene" (if I can use that word without being flamed),
has its A list of artists who can pretty well release anything and get it
published and it will sell. I've found that this has a lot to do with the
collector market. There are people out there who will spend $100 on a CD release with
special packaging and is in super small editions. Although many of us who run
small labels can't do this I believe it does say something about the kind of
music we are willing to pay for.
Without trying to be provocative I have to say that it seems to me that there
is some faddish activity going on here. And I'm really not sure if that's a
negative or not. I think that some people will totally embrace an idea (or a
sound, or what the sound means to them) and follow it around for a while and
then get bored and follow something else around for a while. Let's face it, do
you still listen to the equivalent of the "boy band" you used to listen to with
such rapture when you were 16? Why not? People change all the time and I for
one can't see myself being limited by some idea of loyalty that makes it
impossible for me to listen to something new. It's almost like being in love.
Sometimes love fades and sometimes it doesn't. I think the conclusion I'm coming to
is that what is happening here is just another aspect of the chaotic
experience we call life. Either we're going to embrace it and enjoy ourselves while the
ride lasts or be thrown around by it in an attempt to control something that
is NOT controllable.
Regards,
John
http://cohortrecords.0catch.com
--Boundary_(ID_JsEK8XXrLKXG9VRcCcFfpQ)--
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Date: Sun, 21 Nov 2004 04:59:22 +0100
From: Kassen <xxxxxx@xxxxxx.xxxx.xx>
Subject: Re: [microsound] [OT] Glut of new cds of just no money to spend?
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izam studio writes;
> Its justa transition
> period , people will buy cds until they lose all sense of material want ,
> do you see humanity doing that soon ?
No, of cource not, and your note here touches on a point I´ve been thinking
about which might be somewhat related for some. I myself prefer vinyl over
cd in most cases. I´ve wondered about why this might be and one possible
explanation I came up with is that I can´t press vinyl myself. I can burn
cd´s if I want to, I can do this on the train if need be. Stronger even; if
I quickly need to be able to play some of my own work I will often burn a
cd, put it in the local system and afterwards either donate it to some
friend or simply throw it away. I am not unique in this, far from it.
Vinyl is a different matter. Sure it has it´s limitations that come with
the strong points, sure those limitations are sometimes unsuitable for more
extreme types of music but the truth is that for any given release there are
a finite amount of copies, probably not that many for experimental music.
Suppose you release a record and suppose your label gives you a box of
copies, that´s 25 copies for a single 12". Suddenly, at least to me, the
medium on which the recording rests becomes important, you can give away any
number of cds for next to free while records have a certain value that
depends on how many there are left. For mp3 the only value is in the music
itself, cd´s have some amount of extra value that depends on the quality of
the disc and perhaps on the design printed on it but you can´t create exra
records without going through extra steps that are probably influenced by
the market to a uncomfortable degree if you can at all.
I´m not sure what effect it´s had on the general public but at least to me
personally the general availability of cdr´s at low prices has had a
enormeous impact on how I value the medium. The strange thing is that I very
rarely actually copy a cd.... I freely admit that on a conceptual level this
should plead in favour of mp3´s or at least digital media in general because
their value rests soley on the musical material but I find that on a
emotional level that doesn´t hold true at all.
My two cents on materialism,
Kas.
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Date: Sun, 21 Nov 2004 07:46:22 -0500
From: Thomas Ashcraft <xxxxx.xxxx@xxxxxxxxxx.xxx>
Subject: [microsound] Public Headphones and Hygiene?
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I am planning an upcoming installment of The Sky & Culture Pavilion which
will provide trippable jumpers ( headphone jacks) for direct audio contact
with outer space phenomena There will be numerous stations of different
sounds and specimens. Headphones are the best way to access this intricate
sort of sound but I believe public headphones that I often see hanging in
museums are potential ear and skin disease transmitters.
Do sound artists address this concern?
My thinking at the moment is to get cheap headphones in bulk and provide
them at cost which I am anticipating might be $1. per headphone set. Not
sure about that cost as yet. And/or advertise the pavilion as a "bring
your own headphone" type situation.
Anybody have ideas? Has this subject come up before?
Thomas Ashcraft
www.heliotown.com
Upcoming action in December and January at CUE Art Foundation in Chelsea :
New York City www.cueartfoundation.org navigate to
exhibitions/upcoming exhibitions
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From: izam studio <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] [OT] Glut of stupid human simplified thinking .
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>about which might be somewhat related for some. I myself prefer vinyl over
>d in most cases. I´ve wondered about why this might be and one possible
>xplanation I came up with is that I can´t press vinyl myself. I can burn
>d´s if I want to, I can do this on the train if need be.
I think this really explains alot.So people have created a mental attitude
toward cd and what its worth in relation to
what they can now buy a blank cdr for .Ive heard it said a glass mastered cd
for £10 which has artwork and full packaging is a ripoff but when you do the
sums and work out the cost for pressing and mastering , design time and
costs and then take into account that the music may take any number of weeks
to make and consider the fact there are often 2-3 companies marking up and
selling on for profit the music you begin to realise cost wise its not to
much (and thats not taking into account the gear needed by the musician etc.
People have begun to say this due to them relating everything to the
cheapness of cdr and downloading for 'free '
and taking a knieve and simply attitude based on - a cdr cost me 40 P , why
should i pay £10 for a cd . , thats a very flawed way of thinking but
exactly what i heard many people say and is used to supports people who
claim music is overpriced .
Vinyl i never heard called overpriced by anyone , and it doesnt cost much
more to press than cd or didnt but as you say , if you cant create it
yourself in any form then it becomes valued even if this is an illusion in
some sense.
I'm not against free music and downloading or giving away as long as its not
at the musicians expense and when he already maybe often the lowest valued
person in the music industry and has been for years.After all , if people
respected musicians and that includes labels and distributers and shops then
why are they last to be paid and seen as so expendable .Maybe the real
problem is human beings are getting more shallow by the day , less conscious
or other human beings and more selfish or maybe its a evolution of a sort ,
maybe everything will eventually be free ?though personally i think 'free '
as a concept is impossible .
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Date: Sun, 21 Nov 2004 22:20:59 +0200
From: Christos Carras <xxx@xxxxxx.xx>
Subject: Re: [microsound] beauty
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Would it help if we thought of beauty in terms of "rightness" rather
than some specifically aesthetic quality? In other words, if what
defined the quality of an artwork were its adequation to its time, its
"now-ness"?
certainly any and all qualitative judgements are exclusive of whatever
doesn't fit into them, but then personally at least i feel that there's
nothing wrong with adopting a judgemental position as far as the value
of a work is concerned.
after all, none of us value everything to the same degree
(i hope...)
christos
Bill Ashline wrote:
>On Thu, 18 Nov 2004 17:29:13 +0100, xxxxxxxx@xxxxxxx.xx
><xxxxxxxx@xxxxxxx.xx> wrote
>
>
>
>>I think also that one of the main elements that make this disc exciting
>>is that it expresses beauty, and goes beyond a rational idea of aesthetics.
>>i think also that one of the most recurrent peculiarities of experimental
>>electronica, especially in the last period of time, is that it is highly
>>conceptual. so conceptual that many times experimentation does not leave
>>room to beauty (and not aesthetics).
>>it's a big topic, but don't you think that beauty still deserves a primary
>>role, intended as an harmonic objective in the musical piece of art production
>>experience?
>>
>>
>
>Well, it really depends on how we define "beauty," Eva. To some, the
>very idea of an experimental/conceptual/"unbeautiful" (in a certain
>generally accepted sense) musical production is for some listeners
>rather "beautiful" even if it isn't for you. The notion of the
>beautiful as the ultimate aim of aesthetic inquiry was found to be too
>limiting for many twentieth century aestheticians and
>composers/improvisers to cover what people could do with sound. the
>aesthetics of microsound might not always be considered beautiful
>according to some people (in fact quite ugly in some cases--sine waves
>for example--though I happen to love them), but even then microsound
>is no less of an "aesthetic" strategy and approach, even if one finds
>little personal satisfaction in some of the productions.
>
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>
>
>
>
>
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From: aaron jacob siegel <xxxxx@xxxxxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] Public Headphones and Hygiene?
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how many ear diseases can you think of?
let alone ones that could be transmitted through the use of headphones.
and i would think that most people that would be concerned of catching ear diseases.
probably would be the types that would stay away from most public places + events.
so i think you should provide headphones.
and if people think that it is unhygenic.
then they can go home retire to their bubble and bleach the bathtub.
-aaron
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Subject: [microsound] SINERGY-NETWORKS and KLITEKTURE news
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--Boundary_(ID_Z4EGYJuHlJbVi9D+XEemMA)
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izam studio replies;
> People have begun to say this due to them relating everything to the
> cheapness of cdr and downloading for 'free '
> and taking a knieve and simply attitude based on - a cdr cost me 40 P ,
why
> should i pay £10 for a cd . , thats a very flawed way of thinking but
> exactly what i heard many people say and is used to supports people who
> claim music is overpriced .
I fully agree. There will be many cases where though the physical cd may not
have the much value the music is well worth paying for. If so I do.
>
> Vinyl i never heard called overpriced by anyone , and it doesnt cost much
> more to press than cd or didnt but as you say , if you cant create it
> yourself in any form then it becomes valued even if this is an illusion in
> some sense.
Certainly. I´d like to clarify that my post was more of a analysis of
certain feelings I detect in myself, knowing they have paradoxical elements
than a case I´d like to make pleading for anything. What you write here is
true too, at least for me. Promotional or demo cds that I get yet dislike
get thrown away while records I get the same way get filed in some
uncomfortable corner in the hope that I might find some new kind of apeal in
them later.
I freely admit that this is not as it should be, there is some illusionary
value being created in my mind, especially as cds take far less space.
Perhaps that can be filed under "glut of stupid human simplified thinking"
but at least I dare look this in the eye and admit something is going on.
Aditionally, I do pay for my music, in fact I´m quite happy to. I don´t buy
that much, being fairly critical but I have no hesitations about trading
cash for musical enjoyment, in fact I will cheerfully offer trades of
bottles for home pressed cd´s if I encounter good music by people who don´t
regularly release. I honestly think even comercial cd prices are a bargain
of you enjoy the album and play it often
Still, these phenomena of illusionary value play a role too and I wanted to
point them out.
Yours,
Kas.
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Date: Mon, 22 Nov 2004 07:53:59 -0600
From: john kannenberg <xxxx@xxxxxxxxxxx.xxx>
Subject: [microsound] New Release @ Stasisfield : Maikko
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++
Stasisfield is pleased to announce its latest free mp3 release:
-----
SF-3009 : Kneedeep :: Maikko
-----
Italian sound artist Maikko presents a somber two-part, single track
release. The sparse, low tones and drones of "wasteland" eventually
segue into the micro.melodic rhythmic pulses and blips of "flowers on
their graves". A rumination on loss and decay; a soundtrack for
autumn.
Available for download + streaming now:
[ http://www.stasisfield.com/releases/sf-3009.html ]
Thanks for listening.
john kannenberg
[ http://www.johnkannenberg.com ]
[ http://www.stasisfield.com ]
-----
++
UPCOMING
+ Mp3 release by Dale Lloyd
+ Sonic Network Analysis Stage 03 - No, really. I mean it this time.
-----
++
YEAR END SALE
+ All Stasisfield label items on sale in the Stasisfield shop:
[ http://www.stasisfield.com/shop/ ]
+++ support Stasisfield and pick up a copy of the Year 02 MP3 CDR +++
+++ these tracks won't be online after the new year . . . +++
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From: Joe Gilmore <xxx@xxxxx.xxx>
Subject: [microsound] Ultrasound
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For those in the UK...
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Date: Mon, 22 Nov 2004 14:36:25 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Public Headphones and Hygiene?
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"are potential ear and skin disease transmitters. "
such as?
i haven't heard of any diseases spread from ear to ear.
for one thing wax kills germs.
robert
----- Original Message -----
From: "Thomas Ashcraft" <xxxxx.xxxx@xxxxxxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, November 21, 2004 4:46 AM
Subject: [microsound] Public Headphones and Hygiene?
I am planning an upcoming installment of The Sky & Culture Pavilion which
will provide trippable jumpers ( headphone jacks) for direct audio contact
with outer space phenomena There will be numerous stations of different
sounds and specimens. Headphones are the best way to access this intricate
sort of sound but I believe public headphones that I often see hanging in
museums are potential ear and skin disease transmitters.
Do sound artists address this concern?
My thinking at the moment is to get cheap headphones in bulk and provide
them at cost which I am anticipating might be $1. per headphone set. Not
sure about that cost as yet. And/or advertise the pavilion as a "bring
your own headphone" type situation.
Anybody have ideas? Has this subject come up before?
Thomas Ashcraft
www.heliotown.com
Upcoming action in December and January at CUE Art Foundation in Chelsea :
New York City www.cueartfoundation.org navigate to
exhibitions/upcoming exhibitions
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From: greg g <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] State of Music
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FILETIME=[E3ACC860:01C4D0EB]
so i noticed some discussion lately (as usual) about cd sales, internet
downloading, free music, lack of appreciation, discomfort with music, etc
i'm writing a report on this for a class at school. it totally sucks,
because i can never make a point--i spend like 10 pages just trying to
describe what vinyl is all about, and kraftwerk and 80's synth pop, so i
can't even begin to really get in depth and make an argument.
so i've accepted that it's going to be a terrible report because i can't
think of a strategy to delve straight into post digital media without a
10-page boring briefing on what music is all about.
but anyway, if anyone has any thoughts on music today, please share it. i
might quote you in my report.
ok
greg
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From ???@??? Mon Nov 22 23:26:00 2004
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Subject: Re: [microsound] return of metaphysics
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tasty radishwrote:
>
>
> "interesting point.. please consider that beauty,
> understood as an harmonic construction of the whole,
> occurs as a mechanism to eliminate those parts not
> fitting into this concept. it causes oppression and
> exclusion. the root of it all may be the equalization
> of beauty and truth, already present in platos
> thinking, and still alive today... its the never
> ending return of that metaphysical idea that there
> has to be a good, true and beautiful whole that gives
> sense to its parts. through the centuries a lot of
> people tried to work against this normative
> concept..postmodernism claimed its death...with little
> success..
True. However, the separation of beauty from truth and goodness began with
the onset pf modernity when integrated culture and life divided into
separate spheres of aesthetics, ethics and logic (truth only cognition).
Kant was thus able to examine beauty as distinct from truth, as a judgement
of taste within the autonomous domain of aesthetics. The aesthetic category
of beauty, according to Kant is a judgement without interest or concept.
Judgements relating to the beautiful require a disinterestedness towards the
aesthetic object. It is also a requirement that they be universal.
Kant describes two categories of aesthetic judgement in his Third Critique:
the beautiful and the sublime. The sublime, according to Kant is the feeling
we get when we are confronted with grand features of the natural world
(mountains, chasms, volcanoes, etc.), a feeling of awe and insignificance on
the part of the viewer against such grandeur. For Adorno the reception of
great works of modern art (including music) comes to resemble the reception
previously reserved for the sublime in nature.
In post-modernism, with Lyotard, the sublime finally replaces the idea of
the beautiful and moves towards chaos.
With Derrida, however, links Kant's idea of the sublime to that which
exceeds presentation: the colossal. Here the sublime leads to the
unconditional (gift without return or profit).
> isn?t an "aesthetics of failiure" a concept opposed to
> that of "beauty".. if we use failiure to construct
> just another homogenous structure - wouldn?t it be
> easier to keep the old one?
> to define our "postmodern" aesthetics we should think
> of concepts based on divergence, not beauty... "
>
The "aesthetics of failure" Fluxus, conceptual art, and what we might refer
to as a "post-modern aesthetics" all have their roots in the work of Marcel
Duchamp. Duchamp's readymades were not chosen according to a position which
opposed beauty, rather they were, according to Duchamp, chosen according to
a criteria which was anesthetic: neither beautiful nor ugly. In this
movement aesthetic values recede to the background and "context" is brought
to the foregroud. This, however did not stop them from being appreciated as
"beautiful objects." Many of Duchamp's colleges remarked on the inherent
beauty of the urinal, bottlerack, etc. much to Duchamp's disappointment.
> beautifully said! ;) . (perhaps there can be a new
> almost monstorous beauty born from the break from the
> whole, as that breaks open, akin to kierkegard's sorta
> wild sense of the cosmos-God)
the sublime perhaps?
>
> question regarding aesthetics of failure-> do folks
> find that this sensibility is romantic? I do at
> times, and think that when it goes this route, it is
> pretty conventional activity (in so far as it what it
> triggers or opens up in terms of dimensions at a
> perceptual level).
> -andrew
>
>
>
> __________________________________
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> The all-new My Yahoo! - Get yours free!
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>
>
>
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From: David Newman <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] State of Music
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"music is a meeting place between the sound of one event and event of
auditory subjective perception"
well that's my thought for the day!
david
----- Original Message -----
From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, November 22, 2004 11:34 PM
Subject: [microsound] State of Music
> so i noticed some discussion lately (as usual) about cd sales, internet
> downloading, free music, lack of appreciation, discomfort with music, etc
>
> i'm writing a report on this for a class at school. it totally sucks,
> because i can never make a point--i spend like 10 pages just trying to
> describe what vinyl is all about, and kraftwerk and 80's synth pop, so i
> can't even begin to really get in depth and make an argument.
>
> so i've accepted that it's going to be a terrible report because i can't
> think of a strategy to delve straight into post digital media without a
> 10-page boring briefing on what music is all about.
>
> but anyway, if anyone has any thoughts on music today, please share it. i
> might quote you in my report.
>
> ok
> greg
>
> _________________________________________________________________
> Express yourself instantly with MSN Messenger! Download today - it's FREE!
> http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>
>
>
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From: David Newman <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] State of Music
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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"music is a meeting place between the sound of one event and event of
subjective auditory perception"
reads better....
----- Original Message -----
From: "David Newman" <xxxxxxxx@xxxxx.xx.xx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, November 22, 2004 11:38 PM
Subject: Re: [microsound] State of Music
> "music is a meeting place between the sound of one event and event of
> auditory subjective perception"
>
> well that's my thought for the day!
>
> david
>
> ----- Original Message -----
> From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Monday, November 22, 2004 11:34 PM
> Subject: [microsound] State of Music
>
>
>> so i noticed some discussion lately (as usual) about cd sales, internet
>> downloading, free music, lack of appreciation, discomfort with music, etc
>>
>> i'm writing a report on this for a class at school. it totally sucks,
>> because i can never make a point--i spend like 10 pages just trying to
>> describe what vinyl is all about, and kraftwerk and 80's synth pop, so i
>> can't even begin to really get in depth and make an argument.
>>
>> so i've accepted that it's going to be a terrible report because i can't
>> think of a strategy to delve straight into post digital media without a
>> 10-page boring briefing on what music is all about.
>>
>> but anyway, if anyone has any thoughts on music today, please share it.
>> i might quote you in my report.
>>
>> ok
>> greg
>>
>> _________________________________________________________________
>> Express yourself instantly with MSN Messenger! Download today - it's
>> FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
>>
>>
>
>
>
> ---------------------------------------------------------------------
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From: David Newman <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] State of Music
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aaghhh typos! i need to sleep
"music is a meeting place between the sound of one event and the event of
subjective auditory perception"
----- Original Message -----
From: "David Newman" <xxxxxxxx@xxxxx.xx.xx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, November 22, 2004 11:42 PM
Subject: Re: [microsound] State of Music
> "music is a meeting place between the sound of one event and event of
> subjective auditory perception"
>
> reads better....
>
>
> ----- Original Message -----
> From: "David Newman" <xxxxxxxx@xxxxx.xx.xx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Monday, November 22, 2004 11:38 PM
> Subject: Re: [microsound] State of Music
>
>
>> "music is a meeting place between the sound of one event and event of
>> auditory subjective perception"
>>
>> well that's my thought for the day!
>>
>> david
>>
>> ----- Original Message -----
>> From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Sent: Monday, November 22, 2004 11:34 PM
>> Subject: [microsound] State of Music
>>
>>
>>> so i noticed some discussion lately (as usual) about cd sales, internet
>>> downloading, free music, lack of appreciation, discomfort with music,
>>> etc
>>>
>>> i'm writing a report on this for a class at school. it totally sucks,
>>> because i can never make a point--i spend like 10 pages just trying to
>>> describe what vinyl is all about, and kraftwerk and 80's synth pop, so i
>>> can't even begin to really get in depth and make an argument.
>>>
>>> so i've accepted that it's going to be a terrible report because i can't
>>> think of a strategy to delve straight into post digital media without a
>>> 10-page boring briefing on what music is all about.
>>>
>>> but anyway, if anyone has any thoughts on music today, please share it.
>>> i might quote you in my report.
>>>
>>> ok
>>> greg
>>>
>>> _________________________________________________________________
>>> Express yourself instantly with MSN Messenger! Download today - it's
>>> FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>>>
>>>
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>>
>>>
>>>
>>>
>>
>>
>>
>> ---------------------------------------------------------------------
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>>
>>
>>
>>
>
>
>
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Subject: Re: [microsound] State of Music
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FILETIME=[BA8B1480:01C4D0ED]
^_^
>From: "David Newman" <xxxxxxxx@xxxxx.xx.xx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] State of Music
>Date: Mon, 22 Nov 2004 23:43:36 -0000
>
>aaghhh typos! i need to sleep
>
>"music is a meeting place between the sound of one event and the event of
>subjective auditory perception"
>----- Original Message ----- From: "David Newman" <xxxxxxxx@xxxxx.xx.xx>
>To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>Sent: Monday, November 22, 2004 11:42 PM
>Subject: Re: [microsound] State of Music
>
>
>>"music is a meeting place between the sound of one event and event of
>>subjective auditory perception"
>>
>>reads better....
>>
>>
>>----- Original Message ----- From: "David Newman" <xxxxxxxx@xxxxx.xx.xx>
>>To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>>Sent: Monday, November 22, 2004 11:38 PM
>>Subject: Re: [microsound] State of Music
>>
>>
>>>"music is a meeting place between the sound of one event and event of
>>>auditory subjective perception"
>>>
>>>well that's my thought for the day!
>>>
>>>david
>>>
>>>----- Original Message ----- From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>>>To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>Sent: Monday, November 22, 2004 11:34 PM
>>>Subject: [microsound] State of Music
>>>
>>>
>>>>so i noticed some discussion lately (as usual) about cd sales, internet
>>>>downloading, free music, lack of appreciation, discomfort with music,
>>>>etc
>>>>
>>>>i'm writing a report on this for a class at school. it totally sucks,
>>>>because i can never make a point--i spend like 10 pages just trying to
>>>>describe what vinyl is all about, and kraftwerk and 80's synth pop, so i
>>>>can't even begin to really get in depth and make an argument.
>>>>
>>>>so i've accepted that it's going to be a terrible report because i can't
>>>>think of a strategy to delve straight into post digital media without a
>>>>10-page boring briefing on what music is all about.
>>>>
>>>>but anyway, if anyone has any thoughts on music today, please share it.
>>>>i might quote you in my report.
>>>>
>>>>ok
>>>>greg
>>>>
>>>>_________________________________________________________________
>>>>Express yourself instantly with MSN Messenger! Download today - it's
>>>>FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>>>>
>>>>
>>>>---------------------------------------------------------------------
>>>>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>>website: http://www.microsound.org
>>>>
>>>>
>>>>
>>>>
>>>
>>>
>>>
>>>---------------------------------------------------------------------
>>>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>>>
>>>
>>>
>>>
>>
>>
>>
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>>
>
>
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skip it. i'm doing basically the same kind of thing and god knows, i know how
hard it is...
forget the history. or least the history of music. flank the topic from the
sides. military tactics. never attack from the front. talk about digital.
talk about nyquist's theorem. talk about ticking clocks as the smallest
division of time incarnate in sound. talk about the CLICK of a mouse. or the
CLATTER of keystrokes. talk about the ambient sound of an office cubicle.
talk about cell phone rings and digital alarm clocks. talk about things which
make no sound other than what we ascribe to them.
everyone talks about detroit. about kraftwerk. enough already. at this point,
who cares? ancient history. half those guys are afraid of computers... are
afraid of failing. afraid of the glitches. they hide behind history, afraid
to put out new albums because they know how archaic they really are. old
timers with foot in second hand music store. better to cower behind legend
than take a risk. at least george lucas fell flat on his face. more than
derrick may can say.
if you can't make a point, it's because you don't have one. keep your eye on
the prize. what is it specifically that strikes you about this music? you.
forget what everybody else thinks. they have there own ideas. just because
they are published doesn't make their ideas any more valid. most of Them have
no clue about music. too busy writing words than making sounds. what makes an
idea valid is the quality, originality and articulation of the argument
presented. write down your idea and then find other's with a similar
viewpoint to legitimize. it makes the brass in the ivory towers of lala land
happy.
write your paper backwards. start with post-digital (whatever the hell that
means...) and work back to the stone age. screw with the format. and if they
give you a bad mark, you can give them the middle finger. the samurais say
'to thine ownself be true.' ditto goes for school. go onomatopoeic.
make analogies. find analogies. across the spectrum of life. outside music.
recycling blue bins and LEGO toys are better tools for talking about the
music of today than semitones and quarter notes. netscape and norton's
utilities are just as much music software as logic or reaktor.
listen to the sound of the modem at the convenience store, crackling and
burbling when you run your cigarette order through with a credit card. or
the sound of pornography not quite decoded on the pay-per-view station you
haven't paid for.
that's the music of today. sometimes when you're zoomed in %1600 in
photoshop, you can't see that what you're actually looking at is still one
giant square pixel. you got to step back at see the pixel for what it is.
excelsior.
g.
greg g wrote:
> so i noticed some discussion lately (as usual) about cd sales, internet
> downloading, free music, lack of appreciation, discomfort with music, etc
>
> i'm writing a report on this for a class at school. it totally sucks,
> because i can never make a point--i spend like 10 pages just trying to
> describe what vinyl is all about, and kraftwerk and 80's synth pop, so i
> can't even begin to really get in depth and make an argument.
>
> so i've accepted that it's going to be a terrible report because i can't
> think of a strategy to delve straight into post digital media without a
> 10-page boring briefing on what music is all about.
>
> but anyway, if anyone has any thoughts on music today, please share it. i
> might quote you in my report.
>
> ok
> greg
>
> _________________________________________________________________
> Express yourself instantly with MSN Messenger! Download today - it's FREE!
> http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
>
> ---------------------------------------------------------------------
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Greg,
Here's some advice for dealing with teachers / profs who are totally
clueless -- and writing stuff like this in general for academe.
Begin by referencing a bunch of other people in like two paragraphs on the
history of electronic music. Do this via summary. Ie,
"Simon Reynolds writes that acid house began in 1986 in etc etc," and "Dan
Sicko repeats the mantra that Detroit techno is like George Clinton meeting
Kraftwerk in an elevator" etc etc, "this is a bit like how Kodwo Eshun
describes the varied genres of electronic music as 'rhythmachines' etc etc".
I.e.:
- Simon Reynolds (_Generation Ecstasy_), Kodwo Eshun (_More Brilliant Than
the Sun_), Mathew Collins (_Altered States_), Dan Sicko (_Techno Rebels_),
Mireille Silcott (_Rave America_), _Modulations_ (film/book) + whatever else
you know and can find in like, probably overnight (Google is your friend --
also http://scholar.google.com -- although as Public Enemy said, don't truss
it).
Then move on and reference a few of the discussions on post-digital music in
another two paragraphs. Hunt down Parachute 108 if you can ("microsounds")
with essays from Kim Cascone, Achim Szepanski, Tim Hecker, etc. The journal
Organised Sound also recently published an issue with Trace Reddell and Kim
Cascone and a few others from this list. A few of us here have written on
this material, including myself.
(Is there a bibliography on the WIKI for microsound related writing and all
this stuff? Hmm, perhaps something to check into ..)
Then voila! You can talk about post-digital music without explaining all
this stuff that everyone else has already written about. You can probably do
the summary in 1-2 pages (single-spaced).
Of course none of this advice tells you HOW you want to write about it, your
arguments and opinions on it, etc -- that's for you to say. What you cite
and don't cite is just as important ..
As for background, it's usually just a case of convincing your reader that
the literature exists and that they can take your word for it.
Once you're done, share it with us!
cheers,
tobias
ps. The more complicated way to do this is to take your lengthy approach and
intervene critiques, asides and deflections into a historical rewriting that
leads the reader to reconsider contemporary literature on the post-digital
alongside past literature on the history of electronic music. Thus the new
intersects and transacts with the history of the old and both reconfigure
the other. But this is like the pinnacle of sophisticated writing --
certainly not recommended for starters as many crash and burn the first time
around; it takes some serious tokes.
pps. After reading Graham's advice this sounds rather dull, but it's also a
different kind of tactic ;) -- "surviving education while still getting to
talk about what you want".
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
ICQ: 18766209 | AIM: thesaibot +++
> so i noticed some discussion lately (as usual) about cd sales, internet
> downloading, free music, lack of appreciation, discomfort with music, etc
>
> i'm writing a report on this for a class at school. it totally sucks,
> because i can never make a point--i spend like 10 pages just trying to
> describe what vinyl is all about, and kraftwerk and 80's synth pop, so i
> can't even begin to really get in depth and make an argument.
>
> so i've accepted that it's going to be a terrible report because i can't
> think of a strategy to delve straight into post digital media without a
> 10-page boring briefing on what music is all about.
>
> but anyway, if anyone has any thoughts on music today, please share it. i
> might quote you in my report.
>
> ok
> greg
>
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Subject: Re: [microsound] State of Music
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why do you need 10 pages on kraftwerk etc if it's about the state of
the industry?
or is it on the evolution of electronic music?
peace,
a
On Nov 22, 2004, at 6:34 PM, greg g wrote:
> so i noticed some discussion lately (as usual) about cd sales,
> internet downloading, free music, lack of appreciation, discomfort
> with music, etc
>
> i'm writing a report on this for a class at school. it totally sucks,
> because i can never make a point--i spend like 10 pages just trying to
> describe what vinyl is all about, and kraftwerk and 80's synth pop, so
> i can't even begin to really get in depth and make an argument.
>
> so i've accepted that it's going to be a terrible report because i
> can't think of a strategy to delve straight into post digital media
> without a 10-page boring briefing on what music is all about.
>
> but anyway, if anyone has any thoughts on music today, please share
> it. i might quote you in my report.
>
> ok
> greg
>
> _________________________________________________________________
> Express yourself instantly with MSN Messenger! Download today - it's
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>
Andrew Jones
912 Euclid Ave.
Birmingham, AL, 35213
407-927-7607
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Subject: Re: [microsound] State of Music
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listen to tobias too is another piece of advice, i'd suggest. he actually
LIKES this kind of stuff, as crazy as that sounds, and has been a real help and
inspiration to me. he's kicked my ass into gear many times before, despite my
love/hate relationship to academia...
g.
p.s. oh yeah... never - ever - begin sentences with a capital:) it's a graphic
designer's worst nightmare.
"tobias c. van Veen" wrote:
>
>
> pps. After reading Graham's advice this sounds rather dull, but it's also a
> different kind of tactic ;) -- "surviving education while still getting to
> talk about what you want".
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Date: Tue, 23 Nov 2004 03:59:27 -0500
From: Chris Madak <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] chicago
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>> Hi,
>>
>> I just got to USA, and I feel kind of isolated, because I know nothing
>> here.
>> I'm currently in Chicago. Maybe this mailing list is not really for
>> such
>> topics, but maybe anyone knows some community, shops, events or etc.
>> in
>> Chicago.
>>
>> j
well, i lived there briefly, and haven't been back in a little over a
year, but if i recall correctly, there are usually pretty interesting
performances every wednesday at the buddy gallery (on milwaukee, near
damen and north). weekend records and soap used to be the premier
outlet for experimental/electronic records in the neighborhood, but
evidently it's recently been closed.
another possible source of happenings is the small but stellar sound
art program at the school of the art institute. in general, an ear to
the ground will turn up quite a bit of value in chicago... wish i
could offer more for now, but good luck nonetheless.
best,
chris madak
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From: Brendan Palmer <xx@xxxxx.xxx>
Subject: [microsound] Melb: Paul Abad (QLD) and Ms Butt @ Uber Lingua thursday
25th of November... St Jeromes Melbourne CBD
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St Jerome's weekly Thursday night club 'Uber_Lingua' steps up a gear this
week, with two DJ guests featured from now on... Uber's hooked on cultural
diversity and mashing it up so expect some of the most abstract lineups to
hit Melbourne for some time...
THIS THURSDAY the 25th of November (episode 37!) the guests are::::
Paul Abad... A producer, dj, visual artist and web developer based in the
sunshine coast hinterland, in south east Queensland. He has been part of the
Brisbane music scene since 1998, both as a dj and producer, playing at
events such as exodus, 4zzz market day, west end festival, Woodford folk
festival, positronic, straight out of Brisbane festival, Syncron, Endymion
and many more. In his dj sets, he has been cultivating a very original
sound, always exploring the outer fringes of electronic music and using 4
channels simultaneously to achieve a very layered and seamless approach to
mixing. Current musical tangents include deep organic techno,
glitch/electro/hiphop crossovers, minimalistic dub, and ultra chilled
ambience.
and
Ms Butt ::: plays around town regularly and is one of the resident DJs from
First Floor's Sunday night "Players Ball" and the "Ghetto Fabulous"
debauched 1920s gangsta-themed parties done by the same crew... To borrow
some hype from their promotions, She plays somethin like "...dirty bounce n
grind, X-rated RnB, doggy-style hip hop and heavin' Jamaican bashment ..."
wow! Look forward to more Ghetto Fabulous crew comin in as guests over the
coming weeks including the ring leader Bass Bin Laden...
Alongside resonant selectors bP, Saigon Sausage & Raysles (Curse ov Dialect)
WHEN: Thursdays from 7pm
LOCATION: 7 Caledonian Lane, Melbourne CBD
(between little bourke and lonsdale, directly behind the lounge)...
COST TO GET IN: Nothing
Read more at: http://www.uberlingua.com
Send sounds to PO Box 2613 Fitzroy 3065 Australia
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--- graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
schrieb:
> skip it. i'm doing basically the same kind of thing
> and god knows, i know how
> hard it is...
>
> forget the history. or least the history of music.
> flank the topic from the
> sides. military tactics. never attack from the
> front. talk about digital.
> talk about nyquist's theorem. talk about ticking
> clocks as the smallest
> division of time incarnate in sound. talk about the
> CLICK of a mouse. or the
> CLATTER of keystrokes. talk about the ambient sound
> of an office cubicle.
> talk about cell phone rings and digital alarm
> clocks. talk about things which
> make no sound other than what we ascribe to them.
>
> everyone talks about detroit. about kraftwerk.
> enough already. at this point,
> who cares? ancient history. half those guys are
> afraid of computers... are
> afraid of failing. afraid of the glitches. they hide
> behind history, afraid
> to put out new albums because they know how archaic
> they really are. old
> timers with foot in second hand music store. better
> to cower behind legend
> than take a risk. at least george lucas fell flat on
> his face. more than
> derrick may can say.
>
> if you can't make a point, it's because you don't
> have one. keep your eye on
> the prize. what is it specifically that strikes you
> about this music? you.
> forget what everybody else thinks. they have there
> own ideas. just because
> they are published doesn't make their ideas any more
> valid. most of Them have
> no clue about music. too busy writing words than
> making sounds. what makes an
> idea valid is the quality, originality and
> articulation of the argument
> presented. write down your idea and then find
> other's with a similar
> viewpoint to legitimize. it makes the brass in the
> ivory towers of lala land
> happy.
>
> write your paper backwards. start with post-digital
> (whatever the hell that
> means...) and work back to the stone age. screw with
> the format. and if they
> give you a bad mark, you can give them the middle
> finger. the samurais say
> 'to thine ownself be true.' ditto goes for school.
> go onomatopoeic.
>
> make analogies. find analogies. across the spectrum
> of life. outside music.
> recycling blue bins and LEGO toys are better tools
> for talking about the
> music of today than semitones and quarter notes.
> netscape and norton's
> utilities are just as much music software as logic
> or reaktor.
>
> listen to the sound of the modem at the convenience
> store, crackling and
> burbling when you run your cigarette order through
> with a credit card. or
> the sound of pornography not quite decoded on the
> pay-per-view station you
> haven't paid for.
>
> that's the music of today. sometimes when you're
> zoomed in %1600 in
> photoshop, you can't see that what you're actually
> looking at is still one
> giant square pixel. you got to step back at see the
> pixel for what it is.
>
> excelsior.
>
> g.
great! thats not just a comment but pure poetry to me!
it really matches my thoughts on post-digital
aesthetics. how about this version ... :-))
flank the topic from the sides.
military tactics.
never attack from the front.
talk about digital.
talk about nyquist's theorem.
talk about ticking clocks
as the smallest division of time
incarnate in sound.
talk about the CLICK of a mouse.
or the CLATTER of keystrokes.
talk about the ambient sound
of an office cubicle.
talk about cell phone rings
and digital alarm clocks.
talk about things which
make no sound
other
than what we ascribe to them.
old timers
with foot in second hand music store.
better to cower behind legend than
take a risk.
at least george lucas fell flat on his face.
more
than derrick may can say.
write your paper backwards.
make analogies.
find analogies.
across
the spectrum of life.
=====
guido henneböhl
esmarchstraße 25
10407 berlin
030. 42.80.90.48
0162. 51.51.749
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From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: Re: [microsound] State of Music
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hi
( 04.11.22 23:34 +0000 ) greg g:
> i'm writing a report on this for a class at school.
> i spend like 10 pages just trying to describe what vinyl is all about,
> and kraftwerk and 80's synth pop, so i can't even begin to really get
> in depth and make an argument.
i think you are making your own problems here. why don't you try to just
write the minimum you need to make your point. or maybe, understand your
point before you start to write.
> but anyway, if anyone has any thoughts on music today, please share
> it. i might quote you in my report.
there are archives on the network for this and other similar lists. i'm
sure you can find more stuff than you need.
also, i already graduated from school, so i'm not going to do your
homework for you.
--
\js http://or8.net/~johns _@ ><' }\#`( _\#(_ :) #]#[
iraq body count: 14,505 [min] 16,662 [max]
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From ???@??? Tue Nov 23 15:49:06 2004
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Date: Tue, 23 Nov 2004 15:48:51 +0000
From: greg g <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] State of Music
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FILETIME=[F3AE09D0:01C4D173]
i wouldn't consider the replies i've recieved from some of the other folks
on this list "doing my homework for me"
they have just helped to inspire/guide me and write a better report. and
since it _is_ a research report, interviews and quotes from all sorts of
sources are helpful to writing a good paper. i know people on this list
have many different opinions, some of which aren't yet presented on
cascone's or pop's latest statements, so i figured i'd ask and see what
people have to say.
greg
>From: john saylor <xx@xxxx.xxxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] State of Music
>Date: Tue, 23 Nov 2004 09:03:13 -0500
>
>hi
>
>( 04.11.22 23:34 +0000 ) greg g:
> > i'm writing a report on this for a class at school.
>
> > i spend like 10 pages just trying to describe what vinyl is all about,
> > and kraftwerk and 80's synth pop, so i can't even begin to really get
> > in depth and make an argument.
>
>i think you are making your own problems here. why don't you try to just
>write the minimum you need to make your point. or maybe, understand your
>point before you start to write.
>
> > but anyway, if anyone has any thoughts on music today, please share
> > it. i might quote you in my report.
>
>there are archives on the network for this and other similar lists. i'm
>sure you can find more stuff than you need.
>
>also, i already graduated from school, so i'm not going to do your
>homework for you.
>
>--
>\js http://or8.net/~johns _@ ><' }\#`( _\#(_ :) #]#[
>iraq body count: 14,505 [min] 16,662 [max]
>
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>website: http://www.microsound.org
>
_________________________________________________________________
Don’t just search. Find. Check out the new MSN Search!
http://search.msn.click-url.com/go/onm00200636ave/direct/01/
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Date: Tue, 23 Nov 2004 08:31:18 -0800 (PST)
From: zach layton <xxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] classics at the avant garde listening party
tomorrow...galapagos, brooklyn
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Hello,
I'll be "spinning" classic 20th century avant garde records tomorrow night
at Galapagos. Stockhausen, Cage, Xenakis, Morton Feldman, Christian
Wolff, Claude Vivier, Louis Andriessen, Anton Webern, Pierre Boulez, Brian
Ferneyhough, Terry Riley, Robert Ashley, Meredith Monk, and many more of
your personal favorites. This is the first in a series of events that
will feature live performances ranging from avant improv, hardcorde
modernist chamber ensembles, experimental analog circuit benders, laptop
synthesists and Brechtian chanteuses. Stay tuned for more details or come
down tomorrow night and dance, dance, dance the night away with Karlheinz
and the gang. And if we don't see you there...happy thanksgiving!
best,
-Zach
....if anyone is interested in performing (video or audio), let me know and
we can try to arrange something.
"darmstadt at galapagos...classics of the avant-garde listening party"
Wednesday, November 24th. 7pm - late
GALAPAGOS
70 N 6th St. Brooklyn,
NY 11211
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Date: Tue, 23 Nov 2004 10:46:17 -0600 (CST)
From: Mika Martini <xxxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] State of Music Sound Poem
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Guido: from your poem from a Graham Miller text, now its a sound poem...
http://www.mikamartini.scd.cl/sounds/talk_poem96kbps.mp3
saludos! Mika Martini from Chile.
guido henneböhl <xxxxxxxxxxx@xxxxx.xx> wrote:
great! thats not just a comment but pure poetry to me!
it really matches my thoughts on post-digital
aesthetics. how about this version ... :-))
flank the topic from the sides.
military tactics.
never attack from the front.
talk about digital.
talk about nyquist's theorem.
talk about ticking clocks
as the smallest division of time
incarnate in sound.
talk about the CLICK of a mouse.
or the CLATTER of keystrokes.
talk about the ambient sound
of an office cubicle.
talk about cell phone rings
and digital alarm clocks.
talk about things which
make no sound
other
than what we ascribe to them.
old timers
with foot in second hand music store.
better to cower behind legend than
take a risk.
at least george lucas fell flat on his face.
more
than derrick may can say.
write your paper backwards.
make analogies.
find analogies.
across
the spectrum of life.
-------------------------------------------
[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 ???@??? Tue Nov 23 18:16:22 2004
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Date: Tue, 23 Nov 2004 19:17:18 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: [microsound] call for articles hz
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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Organization: block 4
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Maybe intersting for the authors among us
________________call for articles________________
Hz (www.hz-journal.org) is looking for articles on net art, new media,
electronic music/electro-acoustic music and sound art. Previously
published/unpublished articles in English are welcomed. Please send
your submissions to xx-xxxxxxx@xxxxx.xxx
Hz is published by Fylkingen, a non-profit art organization in
Stockholm. Established in 1933, Fylkingen has been promoting new and
experimental art forms throughout its history. For more information,
visit http://www.fylkingen.se/fylkeng.html or
http://www.hz-journal.org/n4/hultberg.html
_________________________________________________
--
Malte Steiner
media art + development
-www.block4.com-
blog 4, also available as rss feed:
http://java.block4.com/blog4/
next events:
26.november workshop 3d modelling for max/msp jitter
Musikhochschule Hamburg, Germany
26.november concert Elektronengehirn
hoerbar Hamburg, Germany
media art exhibition
9.-15. december Hamburg
http://block4.com/nachweisbar/
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Date: Tue, 23 Nov 2004 10:19:54 -0800 (PST)
From: brian <xxxxxxxxx@xxxxx.xxx>
Subject: [microsound] FM3 Chicago performance Nov 27th
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Hello,
For those of you that will be in the Chicago area this weekend we would like to invite you all to a night of experimental performances with FM3, a visiting performer from China, and some local troublemakers.
November 27th 2004 9pm
FM3
Rob Drinkwater/Jason Soliday/Brian Labycz trio
Vadim Sprikut/Jake Elliot duo
Neil Jendon
$6
heaven gallery
1550 north milwaukee
chicago, illinois 60622
heavengallery.com
773-342-4597
--Boundary_(ID_kiIj88ZndA2+qc52sO2O4Q)--
From ???@??? Tue Nov 23 18:58:45 2004
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Date: Tue, 23 Nov 2004 14:13:59 -0500
From: chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] State of capitals
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>p.s. oh yeah... never - ever - begin sentences with a capital:) it's a graphic
>designer's worst nightmare.
long live lowercase
<g>
d.
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From: Phil Thomson <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Canada Council Changes - Petition (fwd)
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I know not all of you are from Canada, and most of you probably do without
funding from bodies like the Canada Council, but I thought I would forward
this petition nonetheless, as it is an issue that relates to the social
context of cultural production generally, and an issue like this may
eventually come to effect a greater number of us, so it would be good for
some of us to speak up now.
P
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
{ Phil Thomson
{ home: http://www.sfu.ca/~pthomson
{ label: http://centibel.org/
{ group: http://groups.yahoo.com/group/databenders/
+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
SDF Public Access UNIX System
http://www.freeshell.org/
Geekier than you since 1987.
---------- Forwarded message ----------
Date: Mon, 22 Nov 2004 01:00:19 -0400
From: michael - <xxxxxxxxxxxxxxx@xxxxxxx.xxx>
Reply-To: xxxxxxxx@xxxxxxxxxxx.xxx
To: xxxxxx@xx.xx, xxx@xxxx.xxxxxxxxxxxxx.xxx, xxxxxxxx@xxxxxxxxxxx.xxx,
xxxxxxxxx_xx@xxxxxxxxxxx.xxx
Subject: [microvan] Canada Council Changes - Petition
PETITION
Changes to art funding at the Canada Council for the Arts
will cripple art practices in Canada
Many of you have heard about the proposed changes to Visual Arts funding
at the Canada Council for the Arts. These changes, which are due to come
into effect in January 2005, will dramatically reduce the number of
artists who will receive grants, and will set in place an inadequate
process of grant assessment, as well as bring corporate focus on
artistic production, seeing it as a product-oriented activity rather than
a process of innovation and continuous inquiry of the artists'
relationship to society.
Please read the letter from PAARC (Pacific Association of Artist Run
Centres) in Vancouver responding to the proposed changes. It is attached
to this email in pdf format.
Also, take your time and visit the Canada Council website for detailed
information about the new proposed program:
http://www.canadacouncil.ca/visualarts/va_consultations.htm
It is extremely important to act immediately and let the Canada Council
know how
you feel about these changes.
The deadline for feedback is December 1st, 2004.
Petition:
Please COPY (rather than Forward) this e-mail into a new message,
sign at the end of the list, and send it to all the people whom you know.
If you receive this list with more than 100 names signed, send a copy of
the petition to:
Francois Lachapelle
at>http://www.canadacouncil.ca/contactus/emfrm.htm?contactID=107
and
Shayla Morreau at
http://www.canadacouncil.ca/contactus/emfrm.htm?contactID=213
Individual response:
You can also respond to these proposed changes by writing the Canada
Council individually.
The form is available at:
http://www.canadacouncil.ca/contactus/emfrm.htm?contactID=213
You can use the letter below and paste it into the message box on the form
provided by the Canada Council or write your own email voicing your
concerns.
Even if you decide not to sign, please consider forwarding the petition on
instead of deleting it.
______________________________________________________________________
As a professional visual artist (or supporter of the arts) in Canada, I am
deeply concerned about the proposed changes to visual arts funding at the
Canada Council.
The funding provided by the Canada Council for the Arts is extremely
important
to the vitality of the art community in Canada and has successfully
supported
a broad range of art practices.
As an artist, I rely on this funding and feel the proposed changes will
dramatically effect support for all artists in Canada.
I petition that these changes should be revised in better consultation
with art communities in Canada, to reflect a more equitable system that is
closer to the model of funding currently in place.
I disagree with the proposed changes and do NOT support them.
(Signed)
______________________________________________________________________
1. Lorraine Oades (Montreal)
2. Catherine Bodmer (Montreal)
3. Jessica MacCormack (Montreal)
4. Liz Garlicki (Winnipeg, MB)
5. Theo Sims (Winnipeg, MB)
6. Garth Hardy (Winnipeg, MB)
7. Heather Emery (Vancouver, BC)
8. Marianne Bos (Vancouver, BC)
9. Michael Red (Vancouver, BC)
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From ???@??? Tue Nov 23 21:01:49 2004
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Date: Tue, 23 Nov 2004 16:05:14 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] State of Music Sound Poem
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this is so cool. i write something here in toronto. then someone in germany turns my
prose into poetry. and then mika from chile turns poetry into sound. holy glabal
village batman. it really doesn't get any more futuristic than this. very cool.
g.
Mika Martini wrote:
> Guido: from your poem from a Graham Miller text, now its a sound poem...
>
> http://www.mikamartini.scd.cl/sounds/talk_poem96kbps.mp3
>
> saludos! Mika Martini from Chile.
>
> guido henneböhl <xxxxxxxxxxx@xxxxx.xx> wrote:
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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] State of Music
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that's very kind. i'm trying to write my master's thesis, the whole hundred and what not pages, in a
similar but even more elaborate style... that's why it's taking me so damn long:) like kodwo eshun, i
really feel writing and syntax has to catch up with the kinds of futuristic and abstract topics that
form the content. if the medium is truly the message, then we have to break out of standardized
academic writing. and if this means writing without capitals, writing one word sentences, writing some
of it computer code, in java script, then so be it. it might actually be a better and more accurate
way of describing things best not described in english, or any other spoken language for that matter.
what was that classic example of 'firstness' in semiotics? schubert (or insert any composer here)
plays something lovely on the piano, to which a listener asks 'what does it mean?' and in response
schubert simply plays the piece again. sometimes the best method for writing about music, is writing
music. and poetry can be a nice compromise, somewhere in between... i highly recommend 'more brilliant
than the sun.' kodwo does this really well...
g.
guido henneböhl wrote:
>
> great! thats not just a comment but pure poetry to me!
> it really matches my thoughts on post-digital
> aesthetics. how about this version ... :-))
>
> flank the topic from the sides.
> we ascribe to them.
>
> old timers
> with foot in second hand music store.
should be with 'one' foot in the second hand music store... sometimes i type faster than i think...
>
>
>
>
>
> ___________________________________________________________
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From ???@??? Tue Nov 23 21:45:44 2004
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From: ". m u r m e r ." <xxxxxx@xxxxxx.xxx>
Subject: [microsound] [playlist] framework - 19.11.04
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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: 26.11.04
~ 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 another edition of framework:focus, this one concentrating on marc behrens' architectural commentaries series - these are a series of compositions based on physical spaces, and constructed from a large archive of field recordings of buildings, building sites, subways and stations, and the infrastructures from which they are formed. along with marc's own commentary on the works, we heard sounds from the 5 commentaries that have been composed to date, a sampling of the original sound sources, and a few moments of an earlier related sound work, location recordings, from the 1995 trente oiseaux release advanced environmental control. architectural commentaries 5, subtitled some models for resonant behaviour, was commissioned by framework for resonancefm, and was composed entirely recordings taken inside the resonancefm studios themselves. it, along with part IV, are scheduled to be released together next year on the american label edition... (http://www.editionellipsis.com) as part of the double cd, along the path towards malicious desires.
for more information on marc behrens and his work, see his website: http://www.mbehrens.com.
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
--------------------------------------------------------------------------------
29.10.04
this edition will be rebroadcast this wednesday, 24.11.04, at 11:00am gmt
(artist / title / album / label)
marc behrens / architectural commentary 1 / architectural commentary / cmr
http://www.cmr.co.nz/
marc behrens / location recordings - inside
location recordings - supplement program 5 / advanced environmental control / trente oiseaux
http://www.trenteoiseaux.com
marc behrens / architectural commentary 2
architectural commentary 3 / architectural commentary / cmr
http://www.cmr.co.nz/
marc behrens / architectural commentary 4
architectural commentary 5 / along the path towards malicious desires / edition...
http://www.editionellipsis.com (to be released in 2005)
--------------------------------------------------------------------------------
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
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From ???@??? Tue Nov 23 21:51:12 2004
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Date: Tue, 23 Nov 2004 13:50:55 -0800 (PST)
From: zach layton <xxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] classics of the avant garde at galapagos (bklyn,
ny) tomorrow night
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Hello,
I'll be "spinning" classic 20th century avant garde records tomorrow night
at Galapagos. Stockhausen, Cage, Xenakis, Morton Feldman, Christian
Wolff, Claude Vivier, Louis Andriessen, Anton Webern, Pierre Boulez, Brian
Ferneyhough, Terry Riley, Robert Ashley, Meredith Monk, and many more of
your personal favorites. This is the first in a series of events that
will feature live performances ranging from avant improv, hardcorde
modernist chamber ensembles, experimental analog circuit benders, laptop
synthesists and Brechtian chanteuses. Stay tuned for more details or come
down tomorrow night and dance, dance, dance the night away with Karlheinz
and the gang. And if we don't see you there...happy thanksgiving!
best,
-Zach
....if anyone is interested in performing, let me know and we can try to
arrange something.
"darmstadt at galapagos...classics of the avant-garde listening party"
Wednesday, November 24th. 7pm - late
GALAPAGOS
70 N 6th St. Brooklyn,
NY 11211
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
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dear G,
> if the medium is truly the message, then we have to break out of standardized
> academic writing. and if this means writing without capitals, writing one word
> sentences, writing some
> of it computer code, in java script, then so be it.
Which, ironically or quite seriously, repeats the same form as the
historical avant-garde: that different forms express different meanings, and
that breaking with form forges or expresses new meaning. This is the key
tenet of what some have pegged "modernism," which in its strict narrowness
rarely questions the underlying form of expression (although avant-garde
movements that prefigured "high modernism" _did_, such as DADA).
In any case, is the structure of your box-breaking a repetition or a
resampling? A rather individuated experience of breaking boundary, common to
all Master's students writing theses, perhaps? Which would render its
language games less precious and more general than we suppose?
> i highly recommend 'more brilliant than the sun.' kodwo does this really
well...
While remaining intelligible and writing with capitals, mind you, in an
aphoristic fashion sampled not only from record labels but Deleuze and
Nietzsche, Sun Ra and George Clinton, the whole of AfroFuturism, which he
rewrites in the process.
New form or new sample?
What's the difference, chuck?
cheers,
tobias
ps. Currently in the last rewrite myself.
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Subject: Re: [microsound] Re: State of Music
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If no one has yet recommended this, this would be an excellent text for
a book club treatment...
On Wednesday, November 24, 2004, at 12:01 AM, Chris Madak wrote:
> i've rambled for far too long, but i should close by recommending
> christoph cox and dan warner's "audio culture," recently published by
> continuum, which is a stellar anthology and a pretty handy "desk
> reference" for experimental music writing.
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Subject: [microsound] New release
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FILETIME=[52866D40:01C4D1AF]
Hi all,
I'm born and live among the red clods of earth of Salento, in the extreme
south-east of Italy, a fertile and dry land. A zone with a rich cultural
past, greek and roman colony, but with a poor present, from whom youth goes
away towards more rich lands. And like in a living organism, in times of big
crisis all resources are cutted back from the extremities, likewise it
happens to Salento, a land in slow, not only climatic, desertification. But
in the heat of summer, with temperature and humidity that take your breath
away, the earth absorbs the hot rays of sun to generate juicy and sweet
fruits, the figs.
"Fiche" (figs in my slang) is my last release, published by Earlabs,
dedicated to those fruits which I, child, steal from the trees of the
countries of my little town.
A fruit that shows how long is the human memory (who taste them don't forget
their taste) and how people prefer sometime to forget or to ignore, hiding
themself behind the alibi of fugacity of human memory. Because is simpler to
forget than to remember.
Each track of my release has a title that refers to various kinds of figs
which spontaneously arise in the land where I live.
I think how figs are present in my childhood memories and in my adult
gluttony and then I decided to dedicate them a musical release. So, "Fiche"
is born .
The tracks are available at this links:
http://www.archive.org/audio/audio-details-db.php?collection=earlabs&collectionid=lm021
http://www.earlabs.org/label/LM/LM021.asp?titleID=915
Every comment is welcome
Bye
Strinqulu
For contacts
xxxxxxxxx@xxxxxxx.xx
xxxxxxxxx@xxxxxx.xxx
web: www.milaus.net
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From ???@??? Tue Nov 23 22:58:20 2004
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Date: Tue, 23 Nov 2004 23:59:31 +0100
From: "xxxx@xxx" <xxxx_xx@xxx.xxx>
Subject: [microsound] asmus tietchens in sweden
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hi everyone,
if you live in sweden near those cities please come by and say hello.
27.11.2004 20.00h
asmus tietchens
hanna hartman
dj zipo [aufabwegen]
@
nordic music festival, malmö
Jeriko, Malmö
http://www.nordicmusicdays.com
28.11.2004, 19.00h
asmus tietchens
henrik rylander
dj zipo [aufabwegen]
@
fylkingen, stockholm
http://www.fylkingen.se
-----------------
a u f a b w e g en
magazine - label - mailorder
p.o.box 100152
50441 cologne
germany
fax.: 0221-2720056
http://www.aufabwegen.com
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From ???@??? Tue Nov 23 23:01:55 2004
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Subject: [microsound] Re: State of Music
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On Nov 23, 2004, at 4:45 PM, graham miller wrote:
> i'm trying to write my master's thesis, the whole hund=
> red and what not pages, in a
> similar but even more elaborate style... that's why it's taking me so
> dam=
> n long:) like kodwo eshun, i
> really feel writing and syntax has to catch up with the kinds of
> futurist=
> ic and abstract topics that
> form the content. if the medium is truly the message, then we have to
> br=
> eak out of standardized
> academic writing. and if this means writing without capitals, writing
> one=
> word sentences, writing some
> of it computer code, in java script, then so be it. it might actually
> be =
> a better and more accurate
> way of describing things best not described in english, or any other
> spok=
> en language for that matter.
exactly. i've been chipping away at a thesis project of my own for
about a year now, and these really are the issues that need to be
confronted when writing on so-called "new media." in fact, my sense
throughout this project has been that cultural currents such as net art
and software art resonate with the treatment of issues such as
authorship, syntax, intellectual property, generativity, and
intersubjectivities in earlier conceptual and performance art, fluxus,
dada, among other prior moments to an extent sufficient to form an
imperative for the contemporary theorist that s/he dramatically
reconsider such questions as the project of academic writing and the
real implications of hyper/intertextualities for it.
the point of my jumping into this is that it's fantastic to hear from
others out there who are engaged with similar issues in their work.
i'd love to continue hearing about any or all of your projects.
and with regards to greg's original question about his paper, my advice
is that even though you're writing for a nonspecialist audience (which
is a good thing), you should familiarize yourself with recent writing
in the field to give you an idea of what not to keep repeating.
historical background is only really useful in a few cases. unless
it's new information, or newly focused around a different argument,
specialists will already be aware of it, and it will fail to engage
most casual newcomers.
in other words, rather than repeating the stories of pierre schaffer
and luigi russolo, then explaining how cage changed everything, like
the lead-ins to most accounts of experimental music/sound art seem to
go these days, try to find a hook that doesn't rely on an exhaustive
historical survey just to get to the beginning of your actual argument.
as suggested by tobias, being aware of current and accessible
literature in your field will enable you to avoid a lot of unnecessary
summarizing by referring your readers to external sources, unless
you're working on a really complex narrative that isn't adequately
served by one or two referrals...then you might make things a lot
simpler by offering your own concise, if extensively footnoted
runthrough.
besides this, i suspect that the best "hooks" for these topics are of
the "always-already" sort, meaning that it's a lot easier to explain
(say) automatic writing once you've linked it to scripting and search
engines, which virtually everyone in your audience will have had some
experience of. i'm aware that that's not your topic, but the general
device might have some use all the same.
i've rambled for far too long, but i should close by recommending
christoph cox and dan warner's "audio culture," recently published by
continuum, which is a stellar anthology and a pretty handy "desk
reference" for experimental music writing.
best,
chris madak
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From: Ian Andrews <x.xxxxxxx@xxxxxxxxxxx.xxx.xx>
Subject: Re: [microsound] State of Music
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I have to agree with Tobias here. The medium ain't the message. Apart from
being an over quoted McLuhan soundbite, this statement has lost its
relevance. We live in a time of post-medium art. As Tobias correctly points
out, the medium was the message for high modernism, which privileged form
over content and specifity of the medium. post-medium art began with Dada
(Duchamp in particular) and, like it or not, determines the artistic milieu
in which we work today, a milieu which moves context into the centre of the
work.
The Russian and Italian Futurists experimented with many of these tropes:
one word column poems, destruction of syntax, transrational language (Zaum).
wild typography, etc. mainly because they believed that new meanings could
be expressed by altering the form of language. This belief came from the
idea that language gets in the way of thought, that thought exists
independently of language, and that if language could be simply altered new
ways of thinking would emerge.
The theories of Saussure had a great impact on this way of thinking and
moved some of the Russian Futurists (Jakobson in particular) into a
different direction, out of which, via the Prague School of linguistics,
Structuralism eventually emerged. Language is seen in structuralism as a
network of differences. It is the relations between words and not the words
themselves that are important. But some thinkers were not satisfied with the
apparently easy solutions offered by Structuralism. Post-Structuralism
delved into the deeper problems of language and moved the analysis of these
problems more towards philosophy.
The only post-structuralist thinker to radically break with the academic
form of writing was Jacques Derrida. One of Derrida's main contentions is
that the totality of thinking cannot be expressed in one language alone,
that absolutely transparent translation between different languages is not
possible. Derrida's writing consists of word play, puns, and allusions,
words with double meanings/ double translations. It is, in a sense, art, or
poetic language. But at the same time it adequately and exhaustively
describes what it does, in the moment of its performance, with great rigour.
Derrida's (and Derridean - deconstructive) writing, far from being obscure,
is often more concise and precise in its use of language and concepts.
For some, however, this writing falls short because it does not offer
conclusions, or, on the other hand it always offers the same conclusion.
After all that, texts are always written with a particular reader in mind.
Generally a Masters thesis which is expected to present a strong and unique
argument in view of a distinct problem, is written for a reader who's
reading of it will conform to standard academic (not to mention Anglo
Analytic tradition) practice.
The use of computer code in an essay could function in a number of ways: it
could be read by a reader who is totally unfamiliar with the script, in
which case it would function as an obscurantist mystification or fashionable
typographic designer ploy; it could be read by a fellow coder familiar with
the particular script who would judge it according to its "elegance," its
adequacy to its task and its economy; or it could be read by someone who
understands it for exactly what it is: a distillation of binary and formal
logic which has dominated Western thinking for thousands of years.
In short, a thesis is a place where meaning should not be ambiguous.
Strategies which resist signification and express a multiplicity of chaotic
streams of thought make marking such work extremely difficult (not to
mention irritating). I would bear this in mind.
best,
ian
tobias c. van Veenwrote:
>
> dear G,
>
>
>> if the medium is truly the message, then we have to break out of standardized
>> academic writing. and if this means writing without capitals, writing one
>> word
>> sentences, writing some
>> of it computer code, in java script, then so be it.
>
> Which, ironically or quite seriously, repeats the same form as the
> historical avant-garde: that different forms express different meanings, and
> that breaking with form forges or expresses new meaning. This is the key
> tenet of what some have pegged "modernism," which in its strict narrowness
> rarely questions the underlying form of expression (although avant-garde
> movements that prefigured "high modernism" _did_, such as DADA).
>
> In any case, is the structure of your box-breaking a repetition or a
> resampling? A rather individuated experience of breaking boundary, common to
> all Master's students writing theses, perhaps? Which would render its
> language games less precious and more general than we suppose?
>
>> i highly recommend 'more brilliant than the sun.' kodwo does this really
> well...
>
> While remaining intelligible and writing with capitals, mind you, in an
> aphoristic fashion sampled not only from record labels but Deleuze and
> Nietzsche, Sun Ra and George Clinton, the whole of AfroFuturism, which he
> rewrites in the process.
>
> New form or new sample?
> What's the difference, chuck?
>
> cheers,
>
> tobias
>
> ps. Currently in the last rewrite myself.
>
>
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>
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Date: Wed, 24 Nov 2004 00:43:23 +0000
From: eric namour <xxxx@xxxxxxx.xx.xx>
Subject: [microsound] state51 EXTENSION #4 | [no.signal] | THUR. 25.11
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A brief insight on this Thursday fantastic event at the state51
factory, host of the London PLACARD Headphones festival. A great
line-up of diversified electronic experimentalism and pulsating
rhythms.
--
THUR 25 NOV | state51 FACTORY | 7pm-12am
8-10 rhoda st. | London e2 7ef | uk
£5 contribution | £3 emailing infoATno-signalDOTnet
-
state51 EXTENSION #4 | [NO.SIGNAL]:
Dean_Roberts (nz | Kranky)
Kapital Band 1 (au/de | moz
TOPLAP performances:
Tablex
Klippav
Nebogeo
-
++ event's page: http://www.no-signal.net/xtns4 (brief info/program
below)
|||||||||||
+ [featured on Kultureflash --> check article here:
http://www.kultureflash.net/current/#event2272
[COMPETITION]
(valid only to London-based members. CD to be picked up on the night.
deadline: 3pm thursday)
.
2 promo Kranky CD of Autistic Daughters (Dean Roberts, Martin
Brandlmyar & Warner Dafeldecker) 'Jealousy and Diamond' for the first 2
who can tell us in which city is Dean Roberts based and where was he
before moving there.
+ [read CD review here: http://www.kultureflash.net/current/#features]
|||
++ PROGRAM
(timings will be respected as much as possible due to big line-up)
-
7.30: doors open
8.00: D E A N R O B E R T S (nz | Kranky / Staubgold / Mille Plateaux)
guitar drones _ melodic vocals
--> http://www.no-signal.net/xtns4/art1.html
-
9.00: K A P I T A L B A N D 1 (au/de | moz) | live processed drums
and electronics
Martin Brandlmyar (Radian / Trapist) + Nicholas Bussmann
--> http://www.no-signal.net/xtns4/art2.html
-
10.00: T A B L E X (uk/fr | TOPLAP) | prossessed drums and live coding
Yaxu Paxo (slub) + Alex Garacotche (Idoia / Voodoo Muzak)
--> http://www.no-signal.net/xtns4/art3.html
-
11.00: K L I P P A V | live a/v coding by TOPLAP duo
--> http://www.no-signal.net/xtns4/art4.html
-
11.30: N E B O G E O (uk) | artificial life melodies
--> http://www.no-signal.net/xtns4/art5.html
-
12.0 | end
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Date: Wed, 24 Nov 2004 02:25:08 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] UK Pure Data Workshops in November & December
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PD.ZILLA --- PURE DATA STOMPS THE UK!
Workshops and Demos on Free + Open Source Software for artists by
Aymeric Mansoux and Derek Holzer.
While many tools exist for sound, multimedia and VJ purposes, few of
them are designed with an open architecture which allows artists to
configure the tools they use themselves. Fewer still are free to use,
share and rebuild.
This workshop introduces the software combination of Pure Data, GEM and
PDP/PiDiP, running on the Linux operating system, as a platform for
audio, video and multimedia artists to explore.
Full workshop program [actual program varies with venue]:
http://electric-boogaloo.goto10.org/pdzilla/
----------------------------------------------------------------
Coming to an arts venue near you:
Tuesday Nov 30: Glasgow
-----------------------
"FOSS [Free + Open Source Software] tools for artists"
Presentation by Derek Holzer
19.00, CCA, 350 Sauchiehall Street, Glasgow
http://www.yourmachines.org/dh_talk.html
http://www.cca-glasgow.com
Registration/Contact: 0141 352 4900
Thursday Dec 02 to Saturday Dec 04: Glasgow
-------------------------------------------
Pure Data/Free + Open Source Software Workshop
"Your Machines" @ Centre for Contemporary Arts - Glasgow (CCA)
CCA, 350 Sauchiehall Street, Glasgow
http://www.yourmachines.org/pd_workshop.html
http://www.cca-glasgow.com
Registration/Contact: 0141 352 4900
Tuesday Dec 07 to Saturday Dec 11: Newcastle
--------------------------------------------
Pure Data/Free + Open Source Software Workshop
Waygood Gallery and Studios
2nd Floor, 39 High Bridge, Newcastle upon Tyne
http://www.waygood.org/
Registration/Contact: xx@xxxxxxxxxxxxxxxx.xxx
Tuesday 14 Dec - Saturday 18 Dec: Brighton
------------------------------------------
Pure Data/Free + Open Source Software Workshop
Lighthouse, 9-12 Middle Street, Brighton
http://www.lighthouse.org.uk/
Registration/Contact: +44 (0)1273 384 222 / xxxx@xxxxxxxxxx.xxx.xx
Wednesday Dec 15: Brighton
--------------------------
Portfolio Presentation by Aymeric Mansoux & Derek Holzer
17.45-18.45, Fabrica & 19.00 Lighthouse
Fabrica, 40 Duke Street, Brighton
Lighthouse, 9-12 Middle Street, Brighton
http://www.lighthouse.org.uk/
http://www.fabrica.org.uk/
http://tinyurl.com/5t6nn
Contact: +44 (0)1273 384 222 / xxxx@xxxxxxxxxx.xxx.xx
Monday 20 Dec - Tuesday 21 Dec: London
--------------------------------------
Pure Data/Free + Open Source Software Workshop
Mute Magazine Studio, The Whitechapel Centre, Myrdle Street, London
Details forthcoming at: http://3d.openmute.org/
Registration/Contact: xxxxxxxx@xxxxxxxx.xxx
Tuesday 21 Dec: London
----------------------
Pure Data Demo Party w/ Derek Holzer, Aymeric Mansoux and OpenLab
Venue to be confirmed!
Pls check the pdzilla or 3d.openmute.org website for details soon!
http://3d.openmute.org/
http://www.pawfal.org/openlab
Contact: xxxxxxxx@xxxxxxxx.xxx
For more info on these workshops, please visit:
http://electric-boogaloo.goto10.org/pdzilla/
--
derek holzer ::: http://www.umatic.nl
---Oblique Strategy # 155:
"The most important thing is the thing most easily forgotten"
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From ???@??? Wed Nov 24 03:46:27 2004
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Tobias, Ian and others have provided some excellent contributions on
this topic, which seems to have evolved considerably!!
I would agree that the explorations of new languages and new modes of
writing have been pretty thorough. You might add to that the more
recent work of mail list bombers like nn and 'code influenced' writers
like mez etc.... attempting to collapse criticism and art, or indeed
reach back/sideways to 'fictocriticism' etc....
I think there is a loosening of the boundaries of what is 'acceptable'
academic writing, perhaps aided and abetted by the problematising of
the 'authority', 'neutrality' and 'independence' of the Author...
From a teaching and learning point of view, however, part of me thinks
it is good to attempt 'independent' criticism as a first step (aware of
the limitations of it), before moving into alternative modes, much in
the same way that it is often good to learn how to play an instrument
in a conventional fashion before pulling it to pieces as a sound
object... There is something about a mastery of the conventions which
enriches the subversion of them...
julian
On Wednesday, November 24, 2004, at 11:36 AM, Ian Andrews wrote:
> I have to agree with Tobias here. The medium ain't the message. Apart
> from
> being an over quoted McLuhan soundbite, this statement has lost its
> relevance. We live in a time of post-medium art. As Tobias correctly
> points
> out, the medium was the message for high modernism, which privileged
> form
> over content and specifity of the medium. post-medium art began with
> Dada
> (Duchamp in particular) and, like it or not, determines the artistic
> milieu
> in which we work today, a milieu which moves context into the centre
> of the
> work.
>
> The Russian and Italian Futurists experimented with many of these
> tropes:
> one word column poems, destruction of syntax, transrational language
> (Zaum).
> wild typography, etc. mainly because they believed that new meanings
> could
> be expressed by altering the form of language. This belief came from
> the
> idea that language gets in the way of thought, that thought exists
> independently of language, and that if language could be simply
> altered new
> ways of thinking would emerge.
> The theories of Saussure had a great impact on this way of thinking and
> moved some of the Russian Futurists (Jakobson in particular) into a
> different direction, out of which, via the Prague School of
> linguistics,
> Structuralism eventually emerged. Language is seen in structuralism as
> a
> network of differences. It is the relations between words and not the
> words
> themselves that are important. But some thinkers were not satisfied
> with the
> apparently easy solutions offered by Structuralism. Post-Structuralism
> delved into the deeper problems of language and moved the analysis of
> these
> problems more towards philosophy.
> The only post-structuralist thinker to radically break with the
> academic
> form of writing was Jacques Derrida. One of Derrida's main contentions
> is
> that the totality of thinking cannot be expressed in one language
> alone,
> that absolutely transparent translation between different languages is
> not
> possible. Derrida's writing consists of word play, puns, and allusions,
> words with double meanings/ double translations. It is, in a sense,
> art, or
> poetic language. But at the same time it adequately and exhaustively
> describes what it does, in the moment of its performance, with great
> rigour.
> Derrida's (and Derridean - deconstructive) writing, far from being
> obscure,
> is often more concise and precise in its use of language and concepts.
> For some, however, this writing falls short because it does not offer
> conclusions, or, on the other hand it always offers the same
> conclusion.
>
> After all that, texts are always written with a particular reader in
> mind.
> Generally a Masters thesis which is expected to present a strong and
> unique
> argument in view of a distinct problem, is written for a reader who's
> reading of it will conform to standard academic (not to mention Anglo
> Analytic tradition) practice.
>
> The use of computer code in an essay could function in a number of
> ways: it
> could be read by a reader who is totally unfamiliar with the script, in
> which case it would function as an obscurantist mystification or
> fashionable
> typographic designer ploy; it could be read by a fellow coder familiar
> with
> the particular script who would judge it according to its "elegance,"
> its
> adequacy to its task and its economy; or it could be read by someone
> who
> understands it for exactly what it is: a distillation of binary and
> formal
> logic which has dominated Western thinking for thousands of years.
>
> In short, a thesis is a place where meaning should not be ambiguous.
> Strategies which resist signification and express a multiplicity of
> chaotic
> streams of thought make marking such work extremely difficult (not to
> mention irritating). I would bear this in mind.
>
> best,
>
> ian
>
> tobias c. van Veenwrote:
>
>>
>> dear G,
>>
>>
>>> if the medium is truly the message, then we have to break out of
>>> standardized
>>> academic writing. and if this means writing without capitals,
>>> writing one
>>> word
>>> sentences, writing some
>>> of it computer code, in java script, then so be it.
>>
>> Which, ironically or quite seriously, repeats the same form as the
>> historical avant-garde: that different forms express different
>> meanings, and
>> that breaking with form forges or expresses new meaning. This is the
>> key
>> tenet of what some have pegged "modernism," which in its strict
>> narrowness
>> rarely questions the underlying form of expression (although
>> avant-garde
>> movements that prefigured "high modernism" _did_, such as DADA).
>>
>> In any case, is the structure of your box-breaking a repetition or a
>> resampling? A rather individuated experience of breaking boundary,
>> common to
>> all Master's students writing theses, perhaps? Which would render its
>> language games less precious and more general than we suppose?
>>
>>> i highly recommend 'more brilliant than the sun.' kodwo does this
>>> really
>> well...
>>
>> While remaining intelligible and writing with capitals, mind you, in
>> an
>> aphoristic fashion sampled not only from record labels but Deleuze and
>> Nietzsche, Sun Ra and George Clinton, the whole of AfroFuturism,
>> which he
>> rewrites in the process.
>>
>> New form or new sample?
>> What's the difference, chuck?
>>
>> cheers,
>>
>> tobias
>>
>> ps. Currently in the last rewrite myself.
>>
>>
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>>
>>
>
>
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Date: Wed, 24 Nov 2004 15:21:44 +1100
From: Julian Knowles <xxxxxxxxxxxxx@xxx.xxx>
Subject: Re: [microsound] Canada Council Changes - Petition (fwd)
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Hi Phil
I am wondering what aspects of the proposed changes are most
objectionable to the community? The proposed changes seem to be a
result of insufficient funding pools and lower success rates. This, it
seems to me, is a global phenomenon in arts communities where
government funding is provided. I'm actually a peer member of the Music
Board of the Australia Council for the Arts, which is a similar
institution to the Canada Council. Similar issues prevail, ie that
competition is fierce and success rates are low. (typically 20%-30%).
You can't expect to get grants, indeed you are quite lucky if you are
successful. This means that even highly established artists cannot
survive from grants. In the filed of music, we reached that point more
than a decade ago, when the policy turned from being limited to the
support of senior artists.composers of contemporary chamber/orchestral
tradition to being more inclusive. The CC seems to be attributing the
rise in applications to universites/art schools.... I wonder is this
really the case??
In any arts funding organisation. there is constant tension between the
need to support more establish artists whilst giving young/emerging
artists a look in. If I have read it correctly, the CC seem to have
provided support at either end with a 5 year waiting period between 5
and 12 years where you fend for yourself... (from first exhibition
until you become formally 'established'). I personally don't think
these kind of criteria are particularly helpful when it comes down to
handing out grants and in many cases they seem to be a blunt strategy
to limit the number of applications coming in (which can be truly
staggering - i just read a few thousand pages of text and listened to a
few hundred CDs in the last round... tends to make your eyes glaze
over!!!).
At the end of the day you are seeking to reward the most meritorious
applications (which may not be from the most senior artists) and
provide some kind of development path for artists both new and
established This is a very tough gig when you only have a small budget
to work with. In my view, artists energies are better spent trying to
help increase the funding pool rather than arguing over how it is
handed out... Of the funding pool is too small, then that is by far and
above your most major problem. Tweaks to the rules will achieve little.
Right here, the issue is that major organisations with a turnover of
more than AUD2,000.000 (around 1.5M USD) pa have cordoned off funding
arrangements secured for a number of years and reviewed, whilst huge
numbers of individual artists compete for the small pool outside this.
To give you an idea. the major orchestras nationally receive 10 X the
total funding pool available to individual music practitioners and
music orgs with a less than $2M turnover... Essentially European art
music (mainly confined to a 200 year period) receives 10x the support
of all other music making put together... This is a David and Goliath
situation... The importance of non-heritage practices needs to be
championed by all so that governments are not allowed to be myopic in
their view of the arts....
Anyway, just some thoughts!!!
On Wednesday, November 24, 2004, at 07:28 AM, Phil Thomson wrote:
> I know not all of you are from Canada, and most of you probably do
> without funding from bodies like the Canada Council, but I thought I
> would forward this petition nonetheless, as it is an issue that
> relates to the social context of cultural production generally, and an
> issue like this may eventually come to effect a greater number of us,
> so it would be good for some of us to speak up now.
>
> P
>
>
>
> +~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
> { Phil Thomson
> { home: http://www.sfu.ca/~pthomson
> { label: http://centibel.org/
> { group: http://groups.yahoo.com/group/databenders/
> +~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
>
> SDF Public Access UNIX System
> http://www.freeshell.org/
> Geekier than you since 1987.
>
> ---------- Forwarded message ----------
> Date: Mon, 22 Nov 2004 01:00:19 -0400
> From: michael - <xxxxxxxxxxxxxxx@xxxxxxx.xxx>
> Reply-To: xxxxxxxx@xxxxxxxxxxx.xxx
> To: xxxxxx@xx.xx, xxx@xxxx.xxxxxxxxxxxxx.xxx, xxxxxxxx@xxxxxxxxxxx.xxx,
> xxxxxxxxx_xx@xxxxxxxxxxx.xxx
> Subject: [microvan] Canada Council Changes - Petition
>
>
> PETITION
>
> Changes to art funding at the Canada Council for the Arts
> will cripple art practices in Canada
>
> Many of you have heard about the proposed changes to Visual Arts
> funding
> at the Canada Council for the Arts. These changes, which are due to
> come
> into effect in January 2005, will dramatically reduce the number of
> artists who will receive grants, and will set in place an inadequate
> process of grant assessment, as well as bring corporate focus on
> artistic production, seeing it as a product-oriented activity rather
> than
> a process of innovation and continuous inquiry of the artists'
> relationship to society.
> Please read the letter from PAARC (Pacific Association of Artist Run
> Centres) in Vancouver responding to the proposed changes. It is
> attached
> to this email in pdf format.
>
> Also, take your time and visit the Canada Council website for detailed
> information about the new proposed program:
> http://www.canadacouncil.ca/visualarts/va_consultations.htm
>
>
> It is extremely important to act immediately and let the Canada Council
> know how
> you feel about these changes.
>
>
> The deadline for feedback is December 1st, 2004.
>
>
>
> Petition:
>
>
> Please COPY (rather than Forward) this e-mail into a new message,
> sign at the end of the list, and send it to all the people whom you
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>
>
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> and
> Shayla Morreau at
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>
>
> Individual response:
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> ______________________________________________________________________
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> As a professional visual artist (or supporter of the arts) in Canada,
> I am
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> the
> Canada Council.
> The funding provided by the Canada Council for the Arts is extremely
> important
> to the vitality of the art community in Canada and has successfully
> supported
> a broad range of art practices.
>
> As an artist, I rely on this funding and feel the proposed changes will
> dramatically effect support for all artists in Canada.
>
> I petition that these changes should be revised in better consultation
> with art communities in Canada, to reflect a more equitable system
> that is
> closer to the model of funding currently in place.
>
> I disagree with the proposed changes and do NOT support them.
> (Signed)
>
> ______________________________________________________________________
>
>
> 1. Lorraine Oades (Montreal)
> 2. Catherine Bodmer (Montreal)
> 3. Jessica MacCormack (Montreal)
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From ???@??? Wed Nov 24 04:39:18 2004
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Date: Wed, 24 Nov 2004 04:39:10 +0000
From: || sirr || <xxxx-xxxxxx@xxxx-xxxxxx.xxx>
Subject: [microsound] 2 events: Rui+Luis Costa @ Valladolid.ES + Paulo Raposo @
Oeiras.PT
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Hello all,
We would like to invite you for 2 special events
If you can come, please say hello
'a noite sirr'
an evening dedicated to sirr
galería samuel, valladolid, spain
27.nov.04 20h
conference by rui & luis costa: aesthetics of sirr
concert by rui costa: sirremix
----
two of sirr's partners (rui and luis costa) will be crossing the border for
a presentation of the label in valladolid, spain.
the first part of the evening will consist of a lecture focusing on the
contextualization of sirr within the scope of contemporary sound art and
experimental music. special reference will be made to the works that
problematize the notion of space (acoustic, psychological, social).
rui costa will then work on the decontextualization/reinterpretation of
fragments of the sirr calalogue, on an improvised set using his computer.
----
In the same night but somewhere else:
Paulo Raposo
Performs the piece "Marfa lights"
Hertzoscopio Festival
Theatre Eunice Muñoz
Oeiras, Lisboa _ Portugal
http://www.hertzoscopio.com
----
And for the spanish readers among you, there's a recent interview with Rui
Costa regarding the first event at the following site:
http://www.valladolidwebmusical.org/disckreto/musica/sirr/
Thanks for your attention
----
xxxxxxxx@xxxx-xxxxxx.xxx
xxxxxxxxx@xxxx-xxxxxx.xxx
http://www.sirr-ecords.com
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From ???@??? Wed Nov 24 05:08:17 2004
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Date: Wed, 24 Nov 2004 00:11:47 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] State of Music
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writing in a unique or unorthodox style does not necessarily imply 'ambiguity.' to
be honest, my stuff is really straight forward and easy to understand. try reading
richard middleton's book on popular music and we can start talking about ambiguity.
or many of the posts here, for that matter. many so-called academics hide behind
verbosity and this crystalline veneer of bullshit disguised as intelligence... as
einstein said, 'things should be made as simple as possible but not simpler.' and
to be honest, i could give a flying fuck who's reading my work. if they don't get
it, it's their problem, so long as i'm proud with what i've written and i believe
in it. just like music, baby. nothing moves forward by adhering to convention.
g.
>
>
> After all that, texts are always written with a particular reader in mind.
> Generally a Masters thesis which is expected to present a strong and unique
> argument in view of a distinct problem, is written for a reader who's
> reading of it will conform to standard academic (not to mention Anglo
> Analytic tradition) practice.
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From ???@??? Wed Nov 24 05:20:27 2004
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it's a really good anthology.. but most have probably encountered these
texts elsewhere before, i'm thinking... if not, i'd recommmend it as
required reading... the 'undercurrents: the hidden wiring of modern
music' is a good one too... recent essays from the wire mag. i dig.
g.
Peter Price wrote:
> If no one has yet recommended this, this would be an excellent text for
> a book club treatment...
>
> On Wednesday, November 24, 2004, at 12:01 AM, Chris Madak wrote:
>
> > i've rambled for far too long, but i should close by recommending
> > christoph cox and dan warner's "audio culture," recently published by
> > continuum, which is a stellar anthology and a pretty handy "desk
> > reference" for experimental music writing.
>
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From ???@??? Wed Nov 24 06:02:51 2004
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as always, incredibly cryptic for my incredibly small brain.
i'm not sure who's side you're on here but i have always sensed with your writing
that there is a very clear and self-conscious attempt to bring new kinds of
language to an academic environment so ridiculously out of touch with the times.
loops. remixing. resampling. waveforms. fastforward. rewind. pause. it's a good
thing. but such an obvious ear to the underground also seems wrought with guilt,
afraid that this cleverly manufactured mix of street credibility and middleclass
whiteness might unravel one day, one tongue and cheek at a time. but i mean,
ultimately we're talking about a group collective mentality that's still trying to
decide whether or not the beatles were any good, never mind AGF or akufen. while
i'm here, in this prison i pay for, They have to be made to feel insecure. to feel
out of touch. They have to be force fed funk. it's like brussel sprouts. but
ultimately it's in Their best interest. or is it? maybe They should figure it out
Themselves... i'm lucky enough to be studying with the One person who actually gets
It. and so i write for him and not the academy. the whole 'soundform of knowledge'
shtick that attali was on about. one has to reverse engineer the 'audible waveband
of the vibrations and signs that make up society' back into words again. and,
inevitably and thankfully, it's not going to be a clear translation. you're going
to pick up some musical debris in the words. digital muck. language is not static.
there is no dictionary that can keep up with culture. trying running eshun through
the spellchecker. every sentence, a system failure.... syntax error. undo.
g.
p.s. beam it over when you're done:)
"tobias c. van Veen" wrote:
> dear G,
>
> > if the medium is truly the message, then we have to break out of standardized
> > academic writing. and if this means writing without capitals, writing one word
> > sentences, writing some
> > of it computer code, in java script, then so be it.
>
> Which, ironically or quite seriously, repeats the same form as the
> historical avant-garde: that different forms express different meanings, and
> that breaking with form forges or expresses new meaning. This is the key
> tenet of what some have pegged "modernism," which in its strict narrowness
> rarely questions the underlying form of expression (although avant-garde
> movements that prefigured "high modernism" _did_, such as DADA).
>
> In any case, is the structure of your box-breaking a repetition or a
> resampling? A rather individuated experience of breaking boundary, common to
> all Master's students writing theses, perhaps? Which would render its
> language games less precious and more general than we suppose?
>
> > i highly recommend 'more brilliant than the sun.' kodwo does this really
> well...
>
> While remaining intelligible and writing with capitals, mind you, in an
> aphoristic fashion sampled not only from record labels but Deleuze and
> Nietzsche, Sun Ra and George Clinton, the whole of AfroFuturism, which he
> rewrites in the process.
>
> New form or new sample?
> What's the difference, chuck?
>
> cheers,
>
> tobias
>
> ps. Currently in the last rewrite myself.
>
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From ???@??? Wed Nov 24 06:19:33 2004
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Subject: [microsound] seoul, korea
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hello,
this may be a hard question to get answers to, but, it
looks like i've landed in Seoul, Korea and will be
here for some time, a few months, and I was wondering
if anyone knew anything about the music scene here? i
have found out about a couple interesting clubs that
play Jungle and a couple that have lots of hardcore
music, does anybody know about any sort of
experimental scene here?
thanks
Jake
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On Tue, 23 Nov 2004 22:19:27 -0800 (PST), holzkopf
<xxxxxxxx_xxxx@xxxxx.xxx> wrote:
> hello,
>
> this may be a hard question to get answers to, but, it
> looks like i've landed in Seoul, Korea and will be
> here for some time, a few months, and I was wondering
> if anyone knew anything about the music scene here?
Welcome to Seoul, Jake. I'm a longtermer--just starting my tenth
year. If you do electronic improv, there's a burgeoning scene. Check
here:
http://www.bulgasari.com
Hope you can pick up some Korean quick :-)
There are also some free jazz related improv gigs connected to Alfred
harth, who lives here now:
http://www.alfredharth.blogspot.com/
Alfred was a longtime German improviser connected to Heiner Goebbels.
he's now a member of Otomo Yoshihide's New Jazz Quintet, and also a
very nice neighbor.
Big hip hop techno scene in the Hongdae area. Mill around and read
the posters or get someone to interpret them for you :-)
all the best
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graham millerwrote:
> writing in a unique or unorthodox style does not necessarily imply
> 'ambiguity.' to
> be honest, my stuff is really straight forward and easy to understand. try
> reading
> richard middleton's book on popular music and we can start talking about
> ambiguity.
> or many of the posts here, for that matter. many so-called academics hide
> behind
> verbosity and this crystalline veneer of bullshit disguised as intelligence...
> as
> einstein said, 'things should be made as simple as possible but not simpler.'
> and
Graham I totally agree. Which really was my point about Derrida. Its not
that theoretical texts should be made simple (this would be severely
limiting), rather they should be rigorous. That is, they should careful,
cover their argument from many different angles, and not be open to
misinterpretation (ambiguity). If a theoretical text can achieve this while
going outside of academic conventions then all the better. This is why I
like Derrida's writing - it is unconventional but never ambiguous. As for
your writing - well, I must say I have not read it so I can't comment. I was
not really referring to your work I'm sorry If you thought I was. I meant it
as a general criticism of a certain type of writing.
> to be honest, i could give a flying fuck who's reading my work. if they
> don't get it, it's their problem, so long as i'm proud with what i've written
> and i believe in it.
Oh come on, you don't mean that. Each text constructs a certain reader.
There is no universal reader. Even if you write just for yourself you have
constructed a reader which in this case is yourself. If you are writing a
thesis then someone must be reading it, and you must care if they
understand, or are even convinced by your argument (unless the thesis
doesn't have one).
> just like music, baby. nothing moves forward by adhering to convention.
>
Yes I agree, but as Julian said: "There is something about a mastery of the
conventions which enriches the subversion of them."
> g.
>
>
>
>
>>
>>
>> After all that, texts are always written with a particular reader in mind.
>> Generally a Masters thesis which is expected to present a strong and unique
>> argument in view of a distinct problem, is written for a reader who's
>> reading of it will conform to standard academic (not to mention Anglo
>> Analytic tradition) practice.
>
>
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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] State of Music
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>
to be totally honest, i read my stuff back aloud in my evil insane genius voice,
this terrible overly theatrical fake british/bad shakespearean accent, pretending
i'm trying to convince my ensnared hero of the ultimate futility of his/her escape.
i know it's nuts, but it gets me writing in what i think is an academic style.
tongue and cheek. so yeah, you're right. i think of my reader as being either james
bond or spiderman about to meet their doom. anyone i read to, over the phone,
whatever, it's always this pompous demented character, drunk with power. it's like
method acting but for writers. i assume this persona that i get a kick out of.
people reading the work have no clue - they think it's me. but it's just one side,
heavily doctored and amplified.
do you expect me talk?
no mr. bond, i expect you to die!
g.
>
> > to be honest, i could give a flying fuck who's reading my work. if they
> > don't get it, it's their problem, so long as i'm proud with what i've written
> > and i believe in it.
>
> Oh come on, you don't mean that. Each text constructs a certain reader.
> There is no universal reader. Even if you write just for yourself you have
> constructed a reader which in this case is yourself. If you are writing a
> thesis then someone must be reading it, and you must care if they
> understand, or are even convinced by your argument (unless the thesis
> doesn't have one).
>
> > just like music, baby. nothing moves forward by adhering to convention.
> >
>
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] State of Music
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> The use of computer code in an essay could function in a number of ways: \
[snip]
> a distillation of binary and formal
> logic which has dominated Western thinking for thousands of years.
Interesting. In what I am working on at the moment, I am exploring this
relation using Zeno's paradox. That is, the digital to the problematic of
infinite divisibility.
As for the thesis, it is not the place for ambiguity yet it depends how
sophisticatedly one is able to approach the subject manner. In short, it
depends on the conditions set forth between the slave and the mas-- errr,
supervisor, and how well one is able to rewire them on the sly.
tV
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Date: Tue, 23 Nov 2004 23:16:30 -0800
From: John Hopkins <xxxxxxxx@xxxx.xx>
Subject: Re: [microsound] seoul, korea
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>There are also some free jazz related improv gigs connected to Alfred
>harth, who lives here now:
>
>http://www.alfredharth.blogspot.com/
>
>Alfred was a longtime German improviser connected to Heiner Goebbels.
>he's now a member of Otomo Yoshihide's New Jazz Quintet, and also a
>very nice neighbor.
that's Alfred 23 Harth? looks so from his email... interesting!
If so, I met him back in the late 80's in Aachen, Germany where he
was collabing with some mutual friends there, I've got some of his
vinyl from then, but it's in storage. :-(
cool...
jh
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Date: Wed, 24 Nov 2004 10:03:41 +0100
From: Peter Price <xxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] State of Music
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I have tended to be a lurker here...but I'm going to try and inject
myself into the discourse a bit more...
what "academic environment" is so "ridiculously out of touch" and in
what way?
> loops. remixing. resampling. waveforms. fastforward. rewind. pause.
the "street" use of computer music technology is the detritus of
academic computer music research which itself is the detritus of
military weapons research. I think its important to stand back and
remember who is really driving the boat here.
> while
> i'm here, in this prison i pay for, They have to be made to feel
> insecure. to feel
> out of touch. They have to be force fed funk.
For some of us, maybe it is not that we feel out of touch but that we
don't want to be "force fed" anything. I think sometimes its important
to step back from ones favored cultural perspective and try to see a
broader picture. The argument can be made that all the micro-genres of
electronica are just subsets of disco. And disco itself, as James Brown
said is, "nothin but the end of the song...you know, the vamp."
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On Tue, 23 Nov 2004 23:16:30 -0800, John Hopkins <xxxxxxxx@xxxx.xx> wrote:
> that's Alfred 23 Harth? looks so from his email... interesting!
>
> If so, I met him back in the late 80's in Aachen, Germany where he
> was collabing with some mutual friends there, I've got some of his
> vinyl from then, but it's in storage. :-(
yes, that would be Mr. 23. I'll be talking to him sometime this week
and I'll pass on your greetings.
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Subject: [microsound] tripel/dubbel autumn releases
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FILETIME=[6D149840:01C4D21C]
hi all,
some new releases that readers on this list may find relevant.
andrew coleman - demons (tripel 002)
after 2001's highly respected 'everything was beautiful and nothing Hurt' on
the thrill jockey label (tortoise, oval, so), andrew coleman (aka animals on
wheels from ninja tune, bovinyl) is back with a delicate mixture of rustic /
digital ‘ponder-phonics’. Comparisons could include the acoustic/digital
processed approach of artists such as Colleen (Lo Recordings), Fennesz
(Mego/Touch), Four Tet (Domino, Leaf) or Oval (Thrill Jockey/Mille
Plateaux).
review @ http://www.sutemos.net/en/reviews
info@ http://www.tripelrecords.com/andrewcoleman.php
ascoltare - mutiny in stereo (dubbel 002)
Following Ascoltare’s impressive debut album, Visceral Vendor, Tripel
Records's sister label Dubbel now brings Mutiny In Stereo, the second single
from ex-Gwei-Lo Dave Henson. Published as a limited edition three inch CDR
of 250, this single follows Ascoltare’s previous foray into conceptual EPs,
Drugs.
review @ http://www.themilkfactory.co.uk/shortcuts/0410.htm#1
links!
xxxx@xxxxxxxxxxxxx.xxx
http://www.tripelrecords.com
http://www.ascoltare.co.uk
www.thewire.co.uk/web/mp3.php
thanks
xtripelx
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Subject: [microsound] Contents Onda Sonora 24-11-04
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ONDA SONORA (Radio Sesiones Experimentales), Madrid
(ES)
Radio Círculo de Bellas Artes 100.4 FM
Miércoles/Wednesday 15h www.circulobellasartes.com
Radio Autónoma 88.8 FM Ma-Ju-Sa / Tu-Th-Sa 18h
www.uam.es/ra
Escucha en directo a cualquier hora / Listen live real
time www.ondasonoraradio.com
_______________________________
CONTENTS ONDA SONORA 24-11-04
01. COIL
Track: The Gimp/Sometimes
Album: Selvaggina, Go Back Into The Woods
Label: Threshold House
Abrimos el programa de esta semana con nuestro
homenaje póstumo a John Balance -vocalista de Coil-,
que murió la semana pasada en circunstancias trágicas,
a sus 42 años en un accidente en su casa, al parecer
por culpa del alcohol. Y lo hacemos con un disco
autoeditado por la mítica formación británica a través
de su propio sello Threshold House, documentando un
directo de junio de este año desde Italia, con un set
más suave de lo habitual en la banda: cuenta la
leyenda que nunca tocaron dos veces un tema de la
misma manera. Junto a John Balance, su compañero en
Coil Peter Christopherson, y un colaborador habitual
de la banda, Thighpaulsandra
First of all, our posthumous tribute to John Balance
-vocalist of Coil- who died at his 42 y.o. in tragic
circumstances, in an accident happenned last week at
his home, apparently because of alcohol. This is a
self-released work by the mythical British formation
through their own label, Threshold House, documenting
a live performance in June 2004 from Italy, with a
softer approach to a set they never played twice in
the same way -at least that says the topic. Together
here with John Balance, his partner in Coil Peter
Christopherson, and a usual collaborator of the band,
Thighpaulsandra
02. WYRM
Track: Labyrinth Defector
Album: Hypotetical Tardigrade Resurrection/Labyrinth
Defector 7" Split w/ IRR.APP.(EXT.)
Label: Somnimage
Wyrm es un proyecto iniciado en 2000 por Allan Zane
como continuación de su antiguo proyecto Arcanum tras
enterarse de que había al menos otros dos proyectos
con el mismo nombre. Tras recoger tres nuevos
compañeros, su trabajo se centra en expresar los
aspectos más sombríos de la existencia humana a través
del uso experimental de los medios tecnológicos a su
alcance mediante ambientes intrigantes como los
construidos para su último trabajo publicado por sello
Somnimage, desde el estado norteamericano de Illinois
Wyrm is a project begun in 2000 by Allan Zane as a
follow-up to his old Arcanum moniker, after finding
out that there were at least another two projects with
the same name. He collected three new partners, their
work centered in expressing the most somber aspects of
human existence through the experimental use of the
technological possibilities, by means of intriguing
atmospheres as the ones built for their last work
released in the Somnimage label, from the North
American state of Illinois
03. AH CAMA-SOTZ & ISZOLOSCOPE
Track: Camanecroszcope
Album: Echoes Ov Who Lieth Dead But Ever Dreameth
Label: Spectre
Colaboración entre Iszoloscope y Ah Cama-Sotz, o lo
que es lo mismo, el canadiense Yann Faussurier y el
belga Herman Klapholz, que se encuentran detrás de dos
de los proyectos más destacados de la actualidad en el
terreno del dark ambient, indagando en la cara más
oscura de la existencia humana desde la
experimentación y la manipulación sonora
Collaboration between Ah Cama-Sotz and Iszoloscope, or
what is the same, the Canadian Yann Faussurier and the
Belgian Herman Klapholz, who are behind two of the
most outstanding projects of the present times in the
lands of dark ambient, investigating in the darkest
face in the human existence from musical
experimentation coordinates and sound manipulation
04. KLOOD
Track: Forrest
Album: Retraction
Label: Blade Records
Más atmósferas oscuras ahora de la mano del francés
Emmanuel Haubry, Klood, desde Nantes, con uno de los 6
cortes incluidos en su último trabajo "Retraction",
publicado en edición limitada a 100 copias por el
sello italiano Blade Records. Los sonidos de Klood se
mezclan completamente con Chartier/Pavlov
More dark atmospheres now by the French Emmanuel
Haubry, Klood, from Nantes, with one of the 6 cuts
included in his last work "Retraction", released in a
limited edition of 100 copies by the Italian label
Blade Records. The sounds of Klood will mix completely
with Chartier/Pavlov
05. RICHARD CHARTIER & IVAN PAVLOV
Track: Move 08
Album: Chessmachine
Label: Mutek
Colaboración recién editada por Mutek entre el
norteamericano Richard Chartier y el ruso Ivan Paulov:
"Chessmachine", una partida de ajedrez a través de
internet con movimientos sonoros que provocan una
respuesta en el contrincante: un entorno estratégico
de espera táctica que ajusta perfectamente con los
ambientes tensos de Klood
Mutek's recent release of the collaboration between
the North American Richard Chartier and the Russian
Iván Paulov, "Chessmachine", a musical chess game
through internet with sound movements that cause an
answer in the competitor: a strategic environment of
patient delay tactics that adjusts perfectly with the
tense atmospheres of Klood
06. KEITH ROWE / OREN AMBARCHI / ROBBIE AVENAIM
Track: Honey Pie
Album: Honey Pie
Label: GroB
El álbum "Thumb" se publicó originalmente el año
pasado por el sello GroB bajo la dirección de varios
maestros de la improvisación en la actualidad: el
australiano Oren Ambarchi, el británico Keith Rowe, de
AMM, el percusionista Robbie Avenaim, y los japoneses
Sachiko M y Otomo Yoshihide. Su continuación, de hecho
bastante diferente, es un disco titulado "Honey Pie",
en el que no han tomado parte los dos maestros de
oriente y que parece mucho menos sujeto a estructuras
que su antecesor, si bien ninguno de los dos ha sido
propiamente compuesto. En esta ocasión, Rowe y
Ambarchi se emplean a fondo a la guitarra y Avenaim de
nuevo en la percusión, y los tres manipulan el sonido
de sus instrumentos en tiempo real mediante sistemas
electrónicos
The "Thumb" album was originally released last year by
the GroB label under the direction of several masters
of the improvisation of the present time: the
Australian Oren Ambarchi, the British Keith Rowe, of
AMM, percusionist Robbie Avenaim, and the Japanese
Sachiko M and Otomo Yoshihide. Its continuation, in
fact quite different, is a record titled "Honey Pie",
in which the two Eastern masters have not taken part.
it seems to be even less subjected to structures than
its predecessor, although none of both has been
properly "compound". In this occasion, Rowe and
Ambarchi are thoroughly playing guitar and Avenaim the
percussion, while the whole three manipulate the
sounds from their instruments in real time by
electronic means
07. JOHN TILBURY & EDDIE PRÉVOST
Track: I
Album: Discrete Moments
Label: Matchless
Si antes escuchábamos un nuevo trabajo de colaboración
a cargo de Keith Rowe, los que fueran sus compañerios
en el combo de improvisación AMM, -formado en el Reino
Unido allá por los años sesenta- John Tilbury y Eddie
Prévost, también continúan en activo presentando ahora
un nuevo trabajo en su propio sello Matchless, una
composición dividida en 8 cortes que se grabó en enero
de este año bajo la influencia de muchas de las
grandes obras para piano y órgano compuestas desde los
años 60 por autores como John Cage, Morton Feldman o
Cornelius Cardew
If we already listened to a new collaborative work by
Keith Rowe, those that were his partners in the
improvisation outfit AMM, -formed in the United
Kingdom by the sixties- John Tilbury and Eddie
Prévost, they also keep active presenting a new work
in their own Matchless label, a composition divided in
8 cuts that was recorded in January of this year under
the influence of many of the big works for piano and
organ composed from the sixties by authors like John
Cage, Morton Feldman or Cornelius Cardew
08. ARTURAS BUMSTEINAS
Track: Opsound
Album: Retorta ver.1
Label: Nexsound
Composición de Arturas Bumsteinas, un artista
multidisciplinar de Vilnius, en Lituania, presentada
en un festival berlinés el año pasado y que formaba
parte de una performance audiovisual diseñada por el
autor en colaboración con Laura Garbstiene para su
proyecto conjunto G Lab, aunque ha sido recientemente
incluida en el último trabajo publicado por Bumsteinas
a través del netlabel lituano Nexsound: "Retorta
ver.1"
Arturas Bumsteinas, a multidisciplinar artist from
Vilnius, in Lithuania, with a composition presented
last year in a festival in Berlin that was part of an
audiovisual performance designed by the author in
collaboration with Laura Garbstiene for their combined
project G Lab. The piece has been recently included in
the last work released by Bumsteinas through the
Lithuanian netlabel Nexsound: "Retorta ver.1"
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Date: Wed, 24 Nov 2004 17:38:16 +0100
From: Peter Price <xxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] State of Music
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On Wednesday, November 24, 2004, at 10:55 PM, graham miller wrote:
>
>> to step back from ones favored cultural perspective and try to see a
>> broader picture. The argument can be made that all the micro-genres of
>> electronica are just subsets of disco.
>
> i totally disagree with this one. but my typing fingers are tired.
Does anyone else have non tired fingers and want to tackle this one?
My thought is simply that given the infinite possibilities for the
organization of frequency over time, much of the music discussed here
is indistinguishable from disco.
To refute this statement might prompt some interesting thinking...or
maybe not.
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From ???@??? Wed Nov 24 23:13:32 2004
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Subject: Re: [microsound] State of Music
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hmmm...maybe this is why i have remained a lurker...
you are leaving out the first part of my statement
>> given the infinite possibilities for the
>> organization of frequency over time
my only point was to try and see the bigger picture and to remember
that changes in style are not really that profound.
If a musical object under consideration has the feeling of a regular
meter and a frequency content spanning the range of 100 to 10000 cps or
so, roughly organized by integer multiplication (like the harmonic
series), to my way of thinking, in light of the infinite variety of
possible ways to organize frequencies of changes in air pressure over
time, this musical object is
> indistinguishable from disco
Its all about the scale or resolution with which you examine your
culture. Its like non western listeners who felt that all pieces of
western classical music were indistinguishable from military marches.
why the yikes? Is this way of thinking really so inflamatory?
On Wednesday, November 24, 2004, at 11:48 PM, graham miller wrote:
> indistinguishable from disco? yikes. here we go...
>
> Peter Price wrote:
>
>> On Wednesday, November 24, 2004, at 10:55 PM, graham miller wrote:
>>
>>>
>>>> to step back from ones favored cultural perspective and try to see a
>>>> broader picture. The argument can be made that all the micro-genres
>>>> of
>>>> electronica are just subsets of disco.
>>>
>>> i totally disagree with this one. but my typing fingers are tired.
>>
>> Does anyone else have non tired fingers and want to tackle this one?
>>
>> My thought is simply that given the infinite possibilities for the
>> organization of frequency over time, much of the music discussed here
>> is indistinguishable from disco.
>>
>> To refute this statement might prompt some interesting thinking...or
>> maybe not.
>>
>> ---------------------------------------------------------------------
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>
>
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From: Peter Price <xxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] disco
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while listening to merzbow....
and most disco was not really electronic.
I was not trying to say that anything was at fault and I'm not quite
sure why to examine things from different scales is "silly."
I have to apologize for my initial post as I seem to have not spoken
correctly.
People must really have a dim view of disco in this group...
On Wednesday, November 24, 2004, at 11:53 PM, Anthony Saunders wrote:
>
> On Nov 24, 2004, at 11:38 AM, Peter Price wrote:
>>
>> My thought is simply that given the infinite possibilities for the
>> organization of frequency over time, much of the music discussed here
>> is indistinguishable from disco.
>>
>> To refute this statement might prompt some interesting thinking...or
>> maybe not.
>
>
> if when measured by some criteria, sogar, tetsu inoue, and merzbow are
> all judged to be indistinguishable from disco, then it is the
> criteria, not the microsound list, that is at fault.
>
> electronic music existed before disco, so it's really silly to even
> make that kind of claim.
>
> anthony
>
>
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>
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From ???@??? Wed Nov 24 23:42:12 2004
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Subject: Re: [microsound] State of Music
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thank you...I have to be much clearer with my language. It would not
occur to me that Xenakis for instance would fall under the rubric
"electronica"
although even there if you adjust your perceptual scale....but I won't
go there...
On Thursday, November 25, 2004, at 12:00 AM, Matthew Mitchell wrote:
>>
>
> I kind of doubt he's talking about Xenakis or Pierre Henry or Merzbow
> when he says electronica. (if he is, then is really worth even
> arguing about it?)
>
> If he's talking 'beat-oriented' electronic music, then why is it such
> a radical statement? Obviously he's over-simplifying for drama, but
> most beat oriented electronic music has a similar purpose. Even
> Autechre isn't really THAT far removed, its kind of like art-disco. I
> do really like Autechre, too. [yeah, I know Confield, etc. has
> examples that aren't has beat-oriented blah blah blah...]
>
I really like Autechre too, and have a lot of it on cd...and I really
do consider it a branch of disco (or dj culture if you prefer that
lingo)
Furthermore, disco is clearly a subset of western popular or vernacular
music, a form that viewed at from a particular scale has not changed
very much in 1000 years.
Seriously...
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Date: Wed, 24 Nov 2004 19:20:36 +0100
From: Peter Price <xxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] State of Music
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listen to a pop song from a thousand years ago and what do you hear...a
melody using a seven note scale organized around a central pitch
unfolding rhythmically in a regular pulse (from the tempo of a slow
walk to that of a fast heartbeat) in a duble or triple meter...likely
moving through on average 3 harmonic areas (i.e chords)
listen today...same thing
that scale...not even imagine you were an alien from another planet
scale...simple musically literate scale.
Consider the biggest chart topper of the middle ages "L'omme arme"...no
one would bat an eye if Bjork sang that song.
Have we lost the ability to think past superficial style?
On Thursday, November 25, 2004, at 12:54 AM, Julian Knowles wrote:
> On Thursday, November 25, 2004, at 04:49 AM, Peter Price wrote:
>> Furthermore, disco is clearly a subset of western popular or
>> vernacular music, a form that viewed at from a particular scale has
>> not changed very much in 1000 years.
>
> What scale are we talking about?, ie... in order to enter this
> discussion, I'd need to have some more detailed context for the above
> statement
>
> I would agree that musical forms derive from one another and pop
> mostly eats itself (perhaps replace 'pop' with 'western music'), but
> I'm not sure I can say there is no sense of change.. unless you can
> convince me of the utility of seeing change as 'surface detail' of an
> inconsequential nature...
>
>
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Date: Wed, 24 Nov 2004 16:55:00 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] State of Music
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>
> For some of us, maybe it is not that we feel out of touch but that we
> don't want to be "force fed" anything.
>
i agree. i'm just being overly dramatic.
> to step back from ones favored cultural perspective and try to see a
> broader picture. The argument can be made that all the micro-genres of
> electronica are just subsets of disco.
i totally disagree with this one. but my typing fingers are tired.
> And disco itself, as James Brown
> said is, "nothin but the end of the song...you know, the vamp."
plug: james brown band at the orbit room in toronto this sunday. 35 bucks
and no james brown. it really doesn't get any better.
>
>
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From ???@??? Wed Nov 24 22:36:10 2004
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Date: Wed, 24 Nov 2004 17:35:57 -0500
From: Sal Randolph <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] opsound cd release party and copyleft label launch,
nyc dec 2
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greetings microsounders,
just wanted to let you know about an upcoming event - it's not strictly
microsound, but certainly the wonderful ben owen & andy graydon are in
this territory, and all the bands are one or another flavor of
experimental electronic and electroacoustic ranging from quiet and
glitchy to noise-rock influenced.
opsound, an open sound pool and experimental record label is releasing
it's first copyleft cd, catalpa catalpa's hardoncity, with a party at
the cbgb lounge in new york, thursday dec 2.
for much more information:
http://www.opsound.org/opsound/events/catalpaparty.html
opsound label launch and cd release party
with
catalpa catalpa
ben owen & andy graydon
scavenger (tianna kennedy & trevor healy)
weapons of mass destruction
thurs dec 2, 8pm - midnight, $5
cbgb lounge, 313 bowery, nyc
http://opsound.org
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on 11/24/04 11:38 AM, Peter Price at xxxxxx@xxxxxxxxx.xxx wrote:
>
> On Wednesday, November 24, 2004, at 10:55 PM, graham miller wrote:
>
>>
>>> to step back from ones favored cultural perspective and try to see a
>>> broader picture. The argument can be made that all the micro-genres of
>>> electronica are just subsets of disco.
>>
>> i totally disagree with this one. but my typing fingers are tired.
>
> Does anyone else have non tired fingers and want to tackle this one?
>
> My thought is simply that given the infinite possibilities for the
> organization of frequency over time, much of the music discussed here
> is indistinguishable from disco.
>
> To refute this statement might prompt some interesting thinking...or
> maybe not.
>
oh boy...no we got a problem.
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Date: Wed, 24 Nov 2004 17:48:01 -0500
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indistinguishable from disco? yikes. here we go...
Peter Price wrote:
> On Wednesday, November 24, 2004, at 10:55 PM, graham miller wrote:
>
> >
> >> to step back from ones favored cultural perspective and try to see a
> >> broader picture. The argument can be made that all the micro-genres of
> >> electronica are just subsets of disco.
> >
> > i totally disagree with this one. but my typing fingers are tired.
>
> Does anyone else have non tired fingers and want to tackle this one?
>
> My thought is simply that given the infinite possibilities for the
> organization of frequency over time, much of the music discussed here
> is indistinguishable from disco.
>
> To refute this statement might prompt some interesting thinking...or
> maybe not.
>
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From ???@??? Wed Nov 24 22:53:53 2004
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From: Anthony Saunders <xxxxxxx@xxxxxxxxxxx.xxx>
Subject: [microsound] disco
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On Nov 24, 2004, at 11:38 AM, Peter Price wrote:
>
> My thought is simply that given the infinite possibilities for the
> organization of frequency over time, much of the music discussed here
> is indistinguishable from disco.
>
> To refute this statement might prompt some interesting thinking...or
> maybe not.
if when measured by some criteria, sogar, tetsu inoue, and merzbow are
all judged to be indistinguishable from disco, then it is the criteria,
not the microsound list, that is at fault.
electronic music existed before disco, so it's really silly to even
make that kind of claim.
anthony
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tired fingers + tired brain (getting late over in old europe) but surely
the mere fact that there are *theoretically* infinite possibilities does
not make all things equal. i mean (without meaning to sound facetious)
the fact that there are infinite possibilities for taste does not mean
that walnut-cocoa-tahini cakes are indistinguishable from excrement...
i should know - i've just eaten one (a walnut-cocoa-tahini cake i mean)
night night
cc
graham miller wrote:
>indistinguishable from disco? yikes. here we go...
>
>Peter Price wrote:
>
>
>
>>On Wednesday, November 24, 2004, at 10:55 PM, graham miller wrote:
>>
>>
>>
>>>>to step back from ones favored cultural perspective and try to see a
>>>>broader picture. The argument can be made that all the micro-genres of
>>>>electronica are just subsets of disco.
>>>>
>>>>
>>>i totally disagree with this one. but my typing fingers are tired.
>>>
>>>
>>Does anyone else have non tired fingers and want to tackle this one?
>>
>>My thought is simply that given the infinite possibilities for the
>>organization of frequency over time, much of the music discussed here
>>is indistinguishable from disco.
>>
>>To refute this statement might prompt some interesting thinking...or
>>maybe not.
>>
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>>
>>
>
>
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>
>
>
>
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From: Matthew Mitchell <xxxxx@xxxxxxxxx.xxx>
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> >> to step back from ones favored cultural perspective and try to see a
> >> broader picture. The argument can be made that all the micro-genres of
> >> electronica are just subsets of disco.
> >
> > i totally disagree with this one. but my typing fingers are tired.
>indistinguishable from disco? yikes. here we go...
I kind of doubt he's talking about Xenakis or Pierre Henry or Merzbow when he says electronica. (if he is, then is really worth even arguing about it?)
If he's talking 'beat-oriented' electronic music, then why is it such a radical statement? Obviously he's over-simplifying for drama, but most beat oriented electronic music has a similar purpose. Even Autechre isn't really THAT far removed, its kind of like art-disco. I do really like Autechre, too. [yeah, I know Confield, etc. has examples that aren't has beat-oriented blah blah blah...]
I do feel that the addition of 'beats' (as opposed to simply 'pulse') to music adds all sorts of baggage that arguably partially intersects the baggage that comes with disco.
-matt
www.mattmitchell.us
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On Thursday, November 25, 2004, at 04:49 AM, Peter Price wrote:
> Furthermore, disco is clearly a subset of western popular or
> vernacular music, a form that viewed at from a particular scale has
> not changed very much in 1000 years.
What scale are we talking about?, ie... in order to enter this
discussion, I'd need to have some more detailed context for the above
statement
I would agree that musical forms derive from one another and pop mostly
eats itself (perhaps replace 'pop' with 'western music'), but I'm not
sure I can say there is no sense of change.. unless you can convince me
of the utility of seeing change as 'surface detail' of an
inconsequential nature...
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Subject: Re: [microsound] disco
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On Nov 24, 2004, at 12:39 PM, Peter Price wrote:
>
> People must really have a dim view of disco in this group...
>
hmmm, I think it's more that in america that "disco" has a heavy
pejorative connotation, such that even if the individual doesn't have a
dim view of disco, it's assumed that a casual comparison to disco is
intended as dismissive or insulting.
And I see now that you were restricting your comparison to beat driven
music, which makes a whole lot more sense to me.
Anthony
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On Nov 24, 2004, at 1:03 AM, Peter Price wrote:
> ... James Brown said ..., "nothin but the end of the song...you know,
> the vamp."
where is that confounded bridge?
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
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dear Peter,
I get what you're saying re: disco's determination .. I agree but the
question is *why* one uses such a strategy, and *how*.
To formalize your argument, the only way to reduce everything to one term
is:
- to argue in favour of an essential aspect to all forms of X;
A different tactic might be:
- investigating the EVENT of X's force (which is dependent on neither its
appearance or absence).
Asking what it IS and delimiting by whatever parameter you see fit yields
"the same" results too: the thought that 'X hasn't changed' creates thought
that doesn't change (anything) either (nor itself).
Now this can be an interesting tactic if it leads one to reconsider
ontological genealogy as revolving around its penchant for reincarnating
novelty. But even that is getting old.
Now the EVENT, of sound, on the other channel ..
......HOLA! Disco as 'western'? What, Africa just jumped into Germany? That's
later--that's post-Detroit AfroGermanic. The EVENT of sound might require
not a reduction to disco, but an opening to jazz and disco's isomorphic
descent from the experience of transatlantic displacement, the diaspora and
memorialized slavery. These relations might have something more to say about
the particular sonic times we live in then a schema of the same.
tV
> On Thursday, November 25, 2004, at 04:49 AM, Peter Price wrote:
>> Furthermore, disco is clearly a subset of western popular or
>> vernacular music, a form that viewed at from a particular scale has
>> not changed very much in 1000 years.
>
> What scale are we talking about?, ie... in order to enter this
> discussion, I'd need to have some more detailed context for the above
> statement
>
> I would agree that musical forms derive from one another and pop mostly
> eats itself (perhaps replace 'pop' with 'western music'), but I'm not
> sure I can say there is no sense of change.. unless you can convince me
> of the utility of seeing change as 'surface detail' of an
> inconsequential nature...
>
>
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>
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
ICQ: 18766209 | AIM: thesaibot +++
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On Thursday, November 25, 2004, at 05:20 AM, Peter Price wrote:
> listen to a pop song from a thousand years ago
Via what means? A time tunnel? All we have are modern interpretations
of incomplete sources.... most of the notated material is sacred music
(as the church had the means to production), very few 'hard facts'
exist of the secular repertoire to which I assume you are alluding
(jongleurs, troubadors etc...). There is enough disagreement about what
actually went on in this music to feed an entire academic community...
For a start, durational notation didn't come in until much later... so
how are you proposing we interpret the rhythmic aspects of the work?
Are you a 'rhythmic modes' subscriber? What metrical structure do you
propose? The recordings you hear are interpretations which a fair
amount of guesswork. Educated guessing is part and parcel of the early
music scholar's work...
> and what do you hear...a melody using a seven note scale organized
> around a central pitch unfolding rhythmically in a regular pulse (from
> the tempo of a slow walk to that of a fast heartbeat) in a duble or
> triple meter...likely moving through on average 3 harmonic areas (i.e
> chords)
this is conjecture (see above), but I think you are a rhythmic modes
person!!!
> listen today...same thing
to what? Again, this is so loose I can't get a hold of what you are
saying....
Mainstream chart music? Prog rock, microsound? breakcore? minimal
techno?
> that scale...not even imagine you were an alien from another planet
> scale...simple musically literate scale.
tell that to nasenbluten
> Consider the biggest chart topper of the middle ages "L'omme
> arme"...no one would bat an eye if Bjork sang that song.
At least this example has a manuscript!
'bjork-ised', or according to the best knowledge of the performance
practice of the renaissance - not middle ages - (in a church service)?
Or are you suggesting that production and performance practice are
'superficial' stylistic details and the production process and
performance would have no bearing on how it was received?
> Have we lost the ability to think past superficial style?
this makes no sense to me.... It might be the brevity of your posts,
but your argument feels like a serious of unqualified sweeping
statements which pass over a lot of the critical detail.. I think its a
lot more complicated than you are trying to suggest.
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Subject: [microsound] state of beauty
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> your argument feels like a serious of unqualified sweeping
> statements which pass over a lot of the critical detail.. I think its a
> lot more complicated than you are trying to suggest.
i don't think so.
the vast majority of all documented music is based on rhythm and some form
of harmony, no matter how much academia might want or need to complicate
things.
it would be interesting to turn this into an anthropological discussion,
because isn't that what all this eventually boils down to ? the 'function'
and origins of music ? its 'purpose' ?
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On Thursday, November 25, 2004, at 01:26 PM, michael trommer wrote:
> i don't think so.
>
> the vast majority of all documented music is based on rhythm and some
> form
> of harmony
wrong... 'harmony' as we know it was not a concept around at the time
of the music cited in the earlier post (1000 years ago). This is not
academic obfuscation, as you suggest, merely an attempt to be
accurate...
why don't we get even more general and say that all music has stayed
much the same because the vast majority of it uses sound? (though not
all.... cf Ives). This argument is a dead end... other than a vehicle
to express anti academic sentiments and sweeping generalities...
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Date: Thu, 25 Nov 2004 14:42:16 +0500
From: Vasily Kuznetsov <xxxxxxxxxx@xxxxxx.xx>
Subject: Re[2]: [microsound] State of Music Sound Poem
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Tuesday, November 23, 2004, 9:46:17 PM, Mika wrote:
> Guido: from your poem from a Graham Miller text, now its a sound poem...
> http://www.mikamartini.scd.cl/sounds/talk_poem96kbps.mp3
> saludos! Mika Martini from Chile.
And after running it through the water digitizer sound machine
(see http://aa1.naumen.ru/snd/water_digitizer/) it became some
weird talking soundscape.
Get some 5 minutes of it here: http://aa1.naumen.ru/snd/water_digitizer/dw_poem.mp3
--
Best regards,
Vasily mailto: kvas at naumen dot ru
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From: Abflug <xxxxxxxxxx@xxxxx.xx>
Subject: [microsound] [events] Abflug nights this week
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------------------------------------------
Saturday, November 27, 2004 @ Kipsari, Hämeentie 135
E, Helsinki, Finland
ABFLUG SPECIAL FEAT. HINTERLANDT
HINTERLANDT (Abflug, Grain of Sound, Cue / Cologne,
Germany / live)
"Hinterlandt is a popular music outfit with a strong
experimental edge." This is Jochen Gutsch's first ever
performance in Finland, and it also celebrates the
release of his new album, New Belief System, on
Aliasfrequencies.
www.hinterlandt.com
SILMU (URA Rec., Pacific-Atlantic / Helsinki / live)
www.silmu.org
VERHAVERBEKE KRZYZOSIAK (Abflug / Helsinki / live)
KARRI O. (Abflug / Helsinki / live+DJ)
21-02, only 4 EUR. Welcome all!
www.abflugrec.com - www.kipsari.com
------------------------------------------
Friday, November 26, 2004 @ Myymälä2, Uudenmaank. 23,
Helsinki
ABFLUG NIGHT
HINTERLANDT (GER / live)
VERHAVERBEKE KRZYZOSIAK (live/DJ)
KARRI O. (DJ)
18.30-21, a quick warm-up before Saturday's gig.
Welcome all!
www.myymala2.com/?page=events
www.abflugrec.com
______________________________________________________________________
Post your free ad now! http://personals.yahoo.ca
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From: guiver ben <xxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] State of Music
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hello all,
er another post: i'm doing a sound installation for my
art exhibition in january in london. i need to find
out how formal the copyright thing is if i use, say,
an autechre track in the sound installation (which
would obviously be credited).
whats the copyright position? do i need to get some
kind of special licence? or what? people play records
in clubs and no-one gets busted-well i never did in a
multitude of places that i'm pretty certain didn't pay
$ to the Performing Rights Commision (uk).
anyway: i'd be grateful ofr any help and advice.
best
ben guiver
ps: if anyone would like to come to the exhibition, or
wants more info, email me and i'll send you a poster,
press release.
--- Julian Knowles <xxxxxxxxxxxxx@xxx.xxx> wrote:
>
> On Thursday, November 25, 2004, at 05:20 AM, Peter
> Price wrote:
>
> > listen to a pop song from a thousand years ago
>
> Via what means? A time tunnel? All we have are
> modern interpretations
> of incomplete sources.... most of the notated
> material is sacred music
> (as the church had the means to production), very
> few 'hard facts'
> exist of the secular repertoire to which I assume
> you are alluding
> (jongleurs, troubadors etc...). There is enough
> disagreement about what
> actually went on in this music to feed an entire
> academic community...
> For a start, durational notation didn't come in
> until much later... so
> how are you proposing we interpret the rhythmic
> aspects of the work?
> Are you a 'rhythmic modes' subscriber? What metrical
> structure do you
> propose? The recordings you hear are interpretations
> which a fair
> amount of guesswork. Educated guessing is part and
> parcel of the early
> music scholar's work...
>
> > and what do you hear...a melody using a seven
> note scale organized
> > around a central pitch unfolding rhythmically in a
> regular pulse (from
> > the tempo of a slow walk to that of a fast
> heartbeat) in a duble or
> > triple meter...likely moving through on average 3
> harmonic areas (i.e
> > chords)
>
> this is conjecture (see above), but I think you are
> a rhythmic modes
> person!!!
>
> > listen today...same thing
>
> to what? Again, this is so loose I can't get a hold
> of what you are
> saying....
>
> Mainstream chart music? Prog rock, microsound?
> breakcore? minimal
> techno?
>
> > that scale...not even imagine you were an alien
> from another planet
> > scale...simple musically literate scale.
>
> tell that to nasenbluten
>
> > Consider the biggest chart topper of the middle
> ages "L'omme
> > arme"...no one would bat an eye if Bjork sang that
> song.
>
> At least this example has a manuscript!
>
> 'bjork-ised', or according to the best knowledge of
> the performance
> practice of the renaissance - not middle ages - (in
> a church service)?
> Or are you suggesting that production and
> performance practice are
> 'superficial' stylistic details and the production
> process and
> performance would have no bearing on how it was
> received?
>
> > Have we lost the ability to think past superficial
> style?
>
> this makes no sense to me.... It might be the
> brevity of your posts,
> but your argument feels like a serious of
> unqualified sweeping
> statements which pass over a lot of the critical
> detail.. I think its a
> lot more complicated than you are trying to suggest.
>
>
>
>
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Subject: Re: [microsound] copyright issues
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hello all,
er another post: i'm doing a sound installation for my
art exhibition in january in london. i need to find
out how formal the copyright thing is if i use, say,
an autechre track in the sound installation (which
would obviously be credited).
whats the copyright position? do i need to get some
kind of special licence? or what? people play records
in clubs and no-one gets busted-well i never did in a
multitude of places that i'm pretty certain didn't pay
$ to the Performing Rights Commision (uk).
anyway: i'd be grateful ofr any help and advice.
best
ben guiver
ps: if anyone would like to come to the exhibition, or
wants more info, email me and i'll send you a poster,
press release.
--- Julian Knowles <xxxxxxxxxxxxx@xxx.xxx> wrote:
>
> On Thursday, November 25, 2004, at 05:20 AM, Peter
> Price wrote:
>
> > listen to a pop song from a thousand years ago
>
> Via what means? A time tunnel? All we have are
> modern interpretations
> of incomplete sources.... most of the notated
> material is sacred music
> (as the church had the means to production), very
> few 'hard facts'
> exist of the secular repertoire to which I assume
> you are alluding
> (jongleurs, troubadors etc...). There is enough
> disagreement about what
> actually went on in this music to feed an entire
> academic community...
> For a start, durational notation didn't come in
> until much later... so
> how are you proposing we interpret the rhythmic
> aspects of the work?
> Are you a 'rhythmic modes' subscriber? What metrical
> structure do you
> propose? The recordings you hear are interpretations
> which a fair
> amount of guesswork. Educated guessing is part and
> parcel of the early
> music scholar's work...
>
> > and what do you hear...a melody using a seven
> note scale organized
> > around a central pitch unfolding rhythmically in a
> regular pulse (from
> > the tempo of a slow walk to that of a fast
> heartbeat) in a duble or
> > triple meter...likely moving through on average 3
> harmonic areas (i.e
> > chords)
>
> this is conjecture (see above), but I think you are
> a rhythmic modes
> person!!!
>
> > listen today...same thing
>
> to what? Again, this is so loose I can't get a hold
> of what you are
> saying....
>
> Mainstream chart music? Prog rock, microsound?
> breakcore? minimal
> techno?
>
> > that scale...not even imagine you were an alien
> from another planet
> > scale...simple musically literate scale.
>
> tell that to nasenbluten
>
> > Consider the biggest chart topper of the middle
> ages "L'omme
> > arme"...no one would bat an eye if Bjork sang that
> song.
>
> At least this example has a manuscript!
>
> 'bjork-ised', or according to the best knowledge of
> the performance
> practice of the renaissance - not middle ages - (in
> a church service)?
> Or are you suggesting that production and
> performance practice are
> 'superficial' stylistic details and the production
> process and
> performance would have no bearing on how it was
> received?
>
> > Have we lost the ability to think past superficial
> style?
>
> this makes no sense to me.... It might be the
> brevity of your posts,
> but your argument feels like a serious of
> unqualified sweeping
> statements which pass over a lot of the critical
> detail.. I think its a
> lot more complicated than you are trying to suggest.
>
>
>
>
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>
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From ???@??? Thu Nov 25 13:12:25 2004
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Date: Thu, 25 Nov 2004 13:12:28 +0000
From: Peter Coyte <xxxxx.xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] copyright issues
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Hello All.
I'm *not* Peter btw - Lubna Azhar - IP lawyer (specialise in commercial
contracts, copyright, trade marks etc etc advising mainly creative
people and companies).
Without knowing the details, some general guidance:
Are you actually re-recording or sampling the track? If so, you'll need
a mechanical / sampling licence?
Where music is played in a public place, the owners of the copyright in
the recording and the owners of the copyright in the composition are
entitled to be paid - this is simpler than it sounds. Next time, you
are out in a bar or cafe, look out for stickers on the window (PPL /
PRS). This means that the venue is registered to play music and the
artists and writers get paid.
If the venue isn't already licenced, you can get a temporary licence.
I hope this helps.
Lubna
PS for prehistoric rock:
http://www.pauldevereux.co.uk/new/body_forsale.html#Stoneagesoundtracks
On 25 Nov 2004, at 10:40, guiver ben wrote:
> hello all,
>
> er another post: i'm doing a sound installation for my
> art exhibition in january in london. i need to find
> out how formal the copyright thing is if i use, say,
> an autechre track in the sound installation (which
> would obviously be credited).
>
> whats the copyright position? do i need to get some
> kind of special licence? or what? people play records
> in clubs and no-one gets busted-well i never did in a
> multitude of places that i'm pretty certain didn't pay
> $ to the Performing Rights Commision (uk).
>
> anyway: i'd be grateful ofr any help and advice.
>
> best
>
> ben guiver
>
> ps: if anyone would like to come to the exhibition, or
> wants more info, email me and i'll send you a poster,
> press release.
> --- Julian Knowles <xxxxxxxxxxxxx@xxx.xxx> wrote:
>
>>
>> On Thursday, November 25, 2004, at 05:20 AM, Peter
>> Price wrote:
>>
>>> listen to a pop song from a thousand years ago
>>
>> Via what means? A time tunnel? All we have are
>> modern interpretations
>> of incomplete sources.... most of the notated
>> material is sacred music
>> (as the church had the means to production), very
>> few 'hard facts'
>> exist of the secular repertoire to which I assume
>> you are alluding
>> (jongleurs, troubadors etc...). There is enough
>> disagreement about what
>> actually went on in this music to feed an entire
>> academic community...
>> For a start, durational notation didn't come in
>> until much later... so
>> how are you proposing we interpret the rhythmic
>> aspects of the work?
>> Are you a 'rhythmic modes' subscriber? What metrical
>> structure do you
>> propose? The recordings you hear are interpretations
>> which a fair
>> amount of guesswork. Educated guessing is part and
>> parcel of the early
>> music scholar's work...
>>
>>> and what do you hear...a melody using a seven
>> note scale organized
>>> around a central pitch unfolding rhythmically in a
>> regular pulse (from
>>> the tempo of a slow walk to that of a fast
>> heartbeat) in a duble or
>>> triple meter...likely moving through on average 3
>> harmonic areas (i.e
>>> chords)
>>
>> this is conjecture (see above), but I think you are
>> a rhythmic modes
>> person!!!
>>
>>> listen today...same thing
>>
>> to what? Again, this is so loose I can't get a hold
>> of what you are
>> saying....
>>
>> Mainstream chart music? Prog rock, microsound?
>> breakcore? minimal
>> techno?
>>
>>> that scale...not even imagine you were an alien
>> from another planet
>>> scale...simple musically literate scale.
>>
>> tell that to nasenbluten
>>
>>> Consider the biggest chart topper of the middle
>> ages "L'omme
>>> arme"...no one would bat an eye if Bjork sang that
>> song.
>>
>> At least this example has a manuscript!
>>
>> 'bjork-ised', or according to the best knowledge of
>> the performance
>> practice of the renaissance - not middle ages - (in
>> a church service)?
>> Or are you suggesting that production and
>> performance practice are
>> 'superficial' stylistic details and the production
>> process and
>> performance would have no bearing on how it was
>> received?
>>
>>> Have we lost the ability to think past superficial
>> style?
>>
>> this makes no sense to me.... It might be the
>> brevity of your posts,
>> but your argument feels like a serious of
>> unqualified sweeping
>> statements which pass over a lot of the critical
>> detail.. I think its a
>> lot more complicated than you are trying to suggest.
>>
>>
>>
>>
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Date: Thu, 25 Nov 2004 09:00:49 -0500
From: Chris <xxxxxxxx@xxxx.xxx>
Subject: Re: [microsound] Canada Council Changes - Petition (fwd)
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HI all,
Two of the most objectionable aspects of the proposed changes are to do with
definition of practice and eligibility.
In terms of practice, the Canada Council appears to want to shift away from
supporting research and development and actually use the marketability of an
artist's work as a major criteria.
As for eligibility, folks who teach in Universities could be locked out as
well. Now, some might be under the impression that if you're in the
University community you'd have access to grants, make a sack of loot and
have sabbaticals. This is simply an outmoded notion. These days, the
majority of people who teach in colleges and universities are adjunct or
fall into categories that prevent them from applying for the big University
research grants. Wages are also much lower than in the days that Dad taught
at the U. Plus, sabatticals are reserved for the most tenured folks.
If these two criteria are really going to be a factor than I have to wonder
who, in the end will be eligible for the grants. It would seem that
dilettantes that know how to paint and artists that are lucky enough to have
a dealer will be the only ones in the fold, so to speak.
I too have served on a number of juries. There is a glut of stuff. Just like
there is for most festival screeners and galleries. It's called a process
and there is a way to quickly divide the wheat from the chaff. The model
they are proposing will actually close the door on people who actually have
made a life of working in a creative field and could keep the doors open for
hobbyists and hacks. Seriously. The impact this will have on the artist run
centers is yet another dimension to consider.
It's bad news and ill-advised.
Cheers all
Chris Mc
Julian Knowles wrote:
> Hi Phil
>
> I am wondering what aspects of the proposed changes are most
> objectionable to the community? The proposed changes seem to be a
> result of insufficient funding pools and lower success rates. This, it
> seems to me, is a global phenomenon in arts communities where
> government funding is provided. I'm actually a peer member of the Music
> Board of the Australia Council for the Arts, which is a similar
> institution to the Canada Council. Similar issues prevail, ie that
> competition is fierce and success rates are low. (typically 20%-30%).
> You can't expect to get grants, indeed you are quite lucky if you are
> successful. This means that even highly established artists cannot
> survive from grants. In the filed of music, we reached that point more
> than a decade ago, when the policy turned from being limited to the
> support of senior artists.composers of contemporary chamber/orchestral
> tradition to being more inclusive. The CC seems to be attributing the
> rise in applications to universites/art schools.... I wonder is this
> really the case??
>
> In any arts funding organisation. there is constant tension between the
> need to support more establish artists whilst giving young/emerging
> artists a look in. If I have read it correctly, the CC seem to have
> provided support at either end with a 5 year waiting period between 5
> and 12 years where you fend for yourself... (from first exhibition
> until you become formally 'established'). I personally don't think
> these kind of criteria are particularly helpful when it comes down to
> handing out grants and in many cases they seem to be a blunt strategy
> to limit the number of applications coming in (which can be truly
> staggering - i just read a few thousand pages of text and listened to a
> few hundred CDs in the last round... tends to make your eyes glaze
> over!!!).
>
> At the end of the day you are seeking to reward the most meritorious
> applications (which may not be from the most senior artists) and
> provide some kind of development path for artists both new and
> established This is a very tough gig when you only have a small budget
> to work with. In my view, artists energies are better spent trying to
> help increase the funding pool rather than arguing over how it is
> handed out... Of the funding pool is too small, then that is by far and
> above your most major problem. Tweaks to the rules will achieve little.
> Right here, the issue is that major organisations with a turnover of
> more than AUD2,000.000 (around 1.5M USD) pa have cordoned off funding
> arrangements secured for a number of years and reviewed, whilst huge
> numbers of individual artists compete for the small pool outside this.
> To give you an idea. the major orchestras nationally receive 10 X the
> total funding pool available to individual music practitioners and
> music orgs with a less than $2M turnover... Essentially European art
> music (mainly confined to a 200 year period) receives 10x the support
> of all other music making put together... This is a David and Goliath
> situation... The importance of non-heritage practices needs to be
> championed by all so that governments are not allowed to be myopic in
> their view of the arts....
>
> Anyway, just some thoughts!!!
>
> On Wednesday, November 24, 2004, at 07:28 AM, Phil Thomson wrote:
>
> > I know not all of you are from Canada, and most of you probably do
> > without funding from bodies like the Canada Council, but I thought I
> > would forward this petition nonetheless, as it is an issue that
> > relates to the social context of cultural production generally, and an
> > issue like this may eventually come to effect a greater number of us,
> > so it would be good for some of us to speak up now.
> >
> > P
> >
> >
> >
> > +~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
> > { Phil Thomson
> > { home: http://www.sfu.ca/~pthomson
> > { label: http://centibel.org/
> > { group: http://groups.yahoo.com/group/databenders/
> > +~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+
> >
> > SDF Public Access UNIX System
> > http://www.freeshell.org/
> > Geekier than you since 1987.
> >
> > ---------- Forwarded message ----------
> > Date: Mon, 22 Nov 2004 01:00:19 -0400
> > From: michael - <xxxxxxxxxxxxxxx@xxxxxxx.xxx>
> > Reply-To: xxxxxxxx@xxxxxxxxxxx.xxx
> > To: xxxxxx@xx.xx, xxx@xxxx.xxxxxxxxxxxxx.xxx, xxxxxxxx@xxxxxxxxxxx.xxx,
> > xxxxxxxxx_xx@xxxxxxxxxxx.xxx
> > Subject: [microvan] Canada Council Changes - Petition
> >
> >
> > PETITION
> >
> > Changes to art funding at the Canada Council for the Arts
> > will cripple art practices in Canada
> >
> > Many of you have heard about the proposed changes to Visual Arts
> > funding
> > at the Canada Council for the Arts. These changes, which are due to
> > come
> > into effect in January 2005, will dramatically reduce the number of
> > artists who will receive grants, and will set in place an inadequate
> > process of grant assessment, as well as bring corporate focus on
> > artistic production, seeing it as a product-oriented activity rather
> > than
> > a process of innovation and continuous inquiry of the artists'
> > relationship to society.
> > Please read the letter from PAARC (Pacific Association of Artist Run
> > Centres) in Vancouver responding to the proposed changes. It is
> > attached
> > to this email in pdf format.
> >
> > Also, take your time and visit the Canada Council website for detailed
> > information about the new proposed program:
> > http://www.canadacouncil.ca/visualarts/va_consultations.htm
> >
> >
> > It is extremely important to act immediately and let the Canada Council
> > know how
> > you feel about these changes.
> >
> >
> > The deadline for feedback is December 1st, 2004.
> >
> >
> >
> > Petition:
> >
> >
> > Please COPY (rather than Forward) this e-mail into a new message,
> > sign at the end of the list, and send it to all the people whom you
> > know.
> > If you receive this list with more than 100 names signed, send a copy
> > of
> > the petition to:
> >
> >
> >
> > Francois Lachapelle
> > at>http://www.canadacouncil.ca/contactus/emfrm.htm?contactID=107
> > and
> > Shayla Morreau at
> > http://www.canadacouncil.ca/contactus/emfrm.htm?contactID=213
> >
> >
> > Individual response:
> > You can also respond to these proposed changes by writing the Canada
> > Council individually.
> > The form is available at:
> > http://www.canadacouncil.ca/contactus/emfrm.htm?contactID=213
> > You can use the letter below and paste it into the message box on the
> > form
> > provided by the Canada Council or write your own email voicing your
> > concerns.
> >
> > Even if you decide not to sign, please consider forwarding the
> > petition on
> > instead of deleting it.
> >
> >
> > ______________________________________________________________________
> >
> >
> > As a professional visual artist (or supporter of the arts) in Canada,
> > I am
> > deeply concerned about the proposed changes to visual arts funding at
> > the
> > Canada Council.
> > The funding provided by the Canada Council for the Arts is extremely
> > important
> > to the vitality of the art community in Canada and has successfully
> > supported
> > a broad range of art practices.
> >
> > As an artist, I rely on this funding and feel the proposed changes will
> > dramatically effect support for all artists in Canada.
> >
> > I petition that these changes should be revised in better consultation
> > with art communities in Canada, to reflect a more equitable system
> > that is
> > closer to the model of funding currently in place.
> >
> > I disagree with the proposed changes and do NOT support them.
> > (Signed)
> >
> > ______________________________________________________________________
> >
> >
> > 1. Lorraine Oades (Montreal)
> > 2. Catherine Bodmer (Montreal)
> > 3. Jessica MacCormack (Montreal)
> > 4. Liz Garlicki (Winnipeg, MB)
> > 5. Theo Sims (Winnipeg, MB)
> > 6. Garth Hardy (Winnipeg, MB)
> > 7. Heather Emery (Vancouver, BC)
> > 8. Marianne Bos (Vancouver, BC)
> > 9. Michael Red (Vancouver, BC)
> >
> >
> >
> > ------------------------ Yahoo! Groups Sponsor --------------------~-->
> > Check out Music Videos, Internet Radio, Artist Photos, Music News!
> > LAUNCH Music on Yahoo!
> > http://us.click.yahoo.com/AXvbED/JARHAA/n1hLAA/JPJolB/TM
> > --------------------------------------------------------------------~->
> >
> >
> > Yahoo! Groups Links
> >
> > <*> To visit your group on the web, go to:
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> >
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> >
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Date: Thu, 25 Nov 2004 10:34:56 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: [microsound] Reverb Engine 2.0 @ Cut.Up.Media.Magazine
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ola,
So here's the text from Sonic Acts X, online at Cut.Up.Media.Magazine.
Thanks to Bas van Heur for editing and putting this up so quickly!!
Introduction (in Dutch):
http://www.cut-up.com/news/detail.php?sid=330
Part 1:
http://www.cut-up.com/news/detail.php?sid=5
Part 2:
http://www.cut-up.com/news/detail.php?sid=4
Part 3 + Endnotes:
http://www.cut-up.com/news/detail.php?sid=1
(Unfortunately the links onsite aren't currently working -- I am sure that
will be fixed soon.)
cheers,
tobias
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
ICQ: 18766209 | AIM: thesaibot +++
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> -----Original Message-----
> From: Julian Knowles [mailto:xxxxxxxxxxxxx@xxx.xxx]
> Sent: Thursday, November 25, 2004 12:58 AM
> To: 'microsound'
> Subject: Re: [microsound] State of Music
>
>
> On Thursday, November 25, 2004, at 05:20 AM, Peter Price wrote:
>
> > listen to a pop song from a thousand years ago
>
> Via what means? A time tunnel? All we have are modern interpretations
> of incomplete sources.... most of the notated material is sacred music
> (as the church had the means to production), very few 'hard facts'
> exist of the secular repertoire to which I assume you are alluding
> (jongleurs, troubadors etc...). There is enough disagreement about what
> actually went on in this music to feed an entire academic community...
> For a start, durational notation didn't come in until much later... so
> how are you proposing we interpret the rhythmic aspects of the work?
> Are you a 'rhythmic modes' subscriber? What metrical structure do you
> propose? The recordings you hear are interpretations which a fair
> amount of guesswork. Educated guessing is part and parcel of the early
> music scholar's work...
>
> > and what do you hear...a melody using a seven note scale organized
> > around a central pitch unfolding rhythmically in a regular pulse (from
> > the tempo of a slow walk to that of a fast heartbeat) in a duble or
> > triple meter...likely moving through on average 3 harmonic areas (i.e
> > chords)
>
> this is conjecture (see above), but I think you are a rhythmic modes
> person!!!
Your points are very well taken. And so I will change my conjecture to the following...
"listen to a pop song from" and at this point fill in the year at which you think it is possible to say something substantive. If my "1000 years" becomes 500 years I think I would still be making my point.
>
> > listen today...same thing
>
> to what? Again, this is so loose I can't get a hold of what you are
> saying....
>
> Mainstream chart music? Prog rock, microsound? breakcore? minimal
> techno?
leaving "microsound" out of it for the moment...my one time point exactly was that viewed from the point of view of trying to imagine all the possible ways that sound could be structured, Prog rock, breakcore, minimal techno, are really not very different are they. Is this really even debatable?
>
> > Consider the biggest chart topper of the middle ages "L'omme
> > arme"...no one would bat an eye if Bjork sang that song.
>
> At least this example has a manuscript!
>
> 'bjork-ised', or according to the best knowledge of the performance
> practice of the renaissance - not middle ages - (in a church service)?
> Or are you suggesting that production and performance practice are
> 'superficial' stylistic details and the production process and
> performance would have no bearing on how it was received?
Viewed from an interest into actual structural, material change, yes "production and performance practice are 'superficial' stylistic details'"
Maybe I am just ignorant, but a pop song is identifiable by its melodic, harmonic, and rhythmic (actually rhyth-melodic) content. This truth is what makes "fake books" and standards possible isn't it? We can make an arrangement of any Beatles song in a raggae style or a minimal techno style...the "song" remains the same. In fact the song is exactly whatever remains identifiably the same across any stylistic rearrangement. It is this element that stays the same (a kind of iso-morphic resonance?) that has not changed much in (fill in the year value you are comfortable)
>
> > Have we lost the ability to think past superficial style?
>
> this makes no sense to me.... It might be the brevity of your posts,
> but your argument feels like a serious of unqualified sweeping
> statements which pass over a lot of the critical detail.. I think its a
> lot more complicated than you are trying to suggest.
You critique is well taken. I agree that I have been overly sweeping. But that was exactly my point...to try and see a bigger picture. You can't see the bigger picture without losing some detail. Sometimes we have to step back from the detail to re-orient ourselves.
Our technology allows us to reexamine our assumptions on the nature of "music." A fundamental change HAS occured...but we continue functioning as if nothing has happened. We can organize sound into any patterns we can imagine and it is from that reality that the difference between "breakcore" and minimal techno, or between Britney Spears and Frank Sinatra are NIL.
peter
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Dear Tobias,
I will not respond to the first 3/4 of your post because frankly I don't understand it. You are obviously a more erudite individual than I am. I will respond to the following however...
> .....HOLA! Disco as 'western'? What, Africa just jumped into Germany? That's
> later--that's post-Detroit AfroGermanic. The EVENT of sound might require
> not a reduction to disco, but an opening to jazz and disco's isomorphic
> descent from the experience of transatlantic displacement, the diaspora and
> memorialized slavery.
If disco is not western, what is it. I think your idea of "isomorphic descent from the experience of transatlantic displacement," etc. is perhaps a racialist romantic fantasy. Can you honestly deny that Motown is immeasurably closer to Mozart than to ANY traditional african music. I am not an ethnomusicologist but I know of no traditional african culture that uses equal tempered major and minor scales. I know of no traditional african culture that uses the "functional harmony" of western classical musics "common practice period." And one could continue looking at melodic patterning and structure, etc.
I was trying in earlier posts to make a distinction between style and actual significant structural change. I think that your "isomorphic descent" issue is if anything a question of style. I wonder if you are being influenced by a kind of Metaphysics of funk, where the true, the absolute, the good, streams from mother africa to shake the booty of the white man.
Furthermore I am not sure why "blackness" should be more associated with disco than say "gayness," or cocaine consumption for that matter.
well, thats enough for now.
peter
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From: Michael North <xxxxxxx.xxxxx@xxxxxxxxx.xx>
Subject: RE: [microsound] State of Music
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This is a generalization....african music/traditional African music doesn't
have a backbeat.....the 2 & 4/of 'pop' music....quite a bit has been made of
this in analysis of 'jazz' music......
mike_north
http://www.front.bc.ca/details.p?record=1609
http://aaeol.ca/
//*-----Original Message-----
//*From: xxxxxx@xxxxxxxxx.xxx [mailto:xxxxxx@xxxxxxxxx.xxx]
//*Sent: Thursday, November 25, 2004 3:48 PM
//*To: microsound
//*Subject: Re: [microsound] State of Music
//*
//*Dear Tobias,
//*
//*I will not respond to the first 3/4 of your post because frankly I don't
//*understand it. You are obviously a more erudite individual than I am. I
//*will respond to the following however...
//*
//*
//*> .....HOLA! Disco as 'western'? What, Africa just jumped into Germany?
//*That's
//*> later--that's post-Detroit AfroGermanic. The EVENT of sound might
//*require
//*> not a reduction to disco, but an opening to jazz and disco's isomorphic
//*> descent from the experience of transatlantic displacement, the diaspora
//*and
//*> memorialized slavery.
//*
//*If disco is not western, what is it. I think your idea of "isomorphic
//*descent from the experience of transatlantic displacement," etc. is
//*perhaps a racialist romantic fantasy. Can you honestly deny that Motown
//*is immeasurably closer to Mozart than to ANY traditional african music. I
//*am not an ethnomusicologist but I know of no traditional african culture
//*that uses equal tempered major and minor scales. I know of no traditional
//*african culture that uses the "functional harmony" of western classical
//*musics "common practice period." And one could continue looking at
//*melodic patterning and structure, etc.
//*
//*I was trying in earlier posts to make a distinction between style and
//*actual significant structural change. I think that your "isomorphic
//*descent" issue is if anything a question of style. I wonder if you are
//*being influenced by a kind of Metaphysics of funk, where the true, the
//*absolute, the good, streams from mother africa to shake the booty of the
//*white man.
//*
//*Furthermore I am not sure why "blackness" should be more associated with
//*disco than say "gayness," or cocaine consumption for that matter.
//*
//*
//*well, thats enough for now.
//*
//*peter
//*
//*
//*
//*
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hi Peter,
You're missing my point -- and several others here -- and it's most clear by
the way you dismissed the beginning of the post: that is, the part of the
argument that said, yes, you are right, but WHY does it matter that we can
'zoom out'? What does it DO?
The point is this: you can reduce any subject to any element: you can zoom
in, zoom out, etc. So?
The point is, WHY?
And moreover, what tools are you using to modify your perspective--for
these tools remain properly metaphysical, that is, outside of the zoom
function of your analysis. You keep them locked up and they don't get
effected or changed by the zoom operation.
Thus it is interesting to see that as you have continued your barbed email
retorts, you seem quite comfortable with maintaining a transhistorical
element to pseudo-musicological analysis (rhythm, meter, etc) while
practising a "calculated" disdain against the ways in which permutation
fucks with the schema to produce, as I wrote below "experience."
I.e., the singular EVENT of sound: its limitless context is only and
necessarily drawn by a feedback relation wherein we, as people, fit in
somewhere. Yes, you have proven you can draw that circle really gosh darn
big, and you have done so with various modes of analysis that you leave
outside the circle.
But Why?
As you didn't answer the question, I can only do some "structural" intuition
of your own argument.
Well, one answer might be that you don't wish to admit the EVENT into your
analysis, the latter which is very clean and mathematical almost, a very
clean little perspective that leaves out all the nasty bits, like, for
example, slavery, or the memory of slavery in technoculture, what Paul
Gilroy, Kodwo Eshun, Paul D. Miller, Alondra Nelson, George Clinton, Sun Ra
and Samuel R. Delaney (as well as a few others) have been known to call
"AfroFuturism." Now this is an example, and one I favour as I happen to like
the music that is called AfroFuturist.
http://www.afrofuturism.net
http://www.frontlist.com/detail/0822365456
http://www.visioncircle.org/archive/cat_afrofuturism.html
(If you read a bit, you might learn about Motown and disco's connection to
Africa, to systems of thought that Paul Gilroy calls "Afrological," and not
"Eurological" -- I don't see this as a "metaphysics of funk," I see this as
a scenario of specific aesthetic elaboration that was and is part of
cultural/racial oppression -- and yes, I DO see the black man coming over to
shake the white man's ass: now ain't that the Truth.)
So, it's interesting to see points below from, for example, Paul Gilroy and
Kodwo Eshun, deemed "racialist romantic fantasy" in order to reduce the
power of the event this sound produces, to disqualify its historical
rupture, its in-your-face-fuck-you or, as Deleuze put it, up-the-ass buggery
to the Euro arrogance of presupposing that truth (in this case, music) has
anything to do with mathematical isomorphism and that such analysis is
somehow beyond the politics of imperialism, slavery, knowledge and power,
the redefinition of "history" itself..
Thus, to answer above the question of "WHY?", it is perhaps easier: from the
distant perspective you have cultivated, it is now very easy to dismiss any
troublesome _difference of the singular, irruptive event_ as "racialist
romantic fantasy." It ALSO allows you only to acknowledge "traditional"
African music (quite patronizing: only the West can "evolve," "Africa"
however must remain the same, as "traditional"). Thus you can carefully
avoid all the great jams of the continent, you know, people like FELA, SUNNY
ADE .. . i.e. all the places and spaces where spaced out jazz transacted
with the temporal rhythms of that "black" continent to generate the shifting
sands from which disco, house and techno sprung -- an "origin" quite
different than the audience/performer arrangement of the West (another
element your argument reduces: the situational architecture of sound; do you
dance, or sit? This might have something to do with this.. you know, both
colonial and class analysis too -- don't forget the pagans got down and
Bakhtin has something to say about carnival as flipping around the town's
hierarchy, if only for a few missing Gregorian calendar days ..)
Now, at the end of your email you are right again: "blackness" in Western
disco has just as much to do with this as gayness, as sexuality, as drugs,
cocaine, LSD, ECSTASY, love, group relations -- and we can go on -- this or
that mythological relation to space and place (UK Travellers, the "ruins of
Detroit," etc) -- and this is EXACTLY the point I am trying to make. This is
not, and never will we be able to limit this singularity to a "question of
style" (as if STYLE wasn't everything already). So, to summarise in a
formula:
- structure and style are irreducible elements to which neither can be
designated a primary term - each structure permutates its style(s) and the
structure _itself_ is an expression of style, that is, structure IS a style
of thinking, of logic, and this is what you leave so carefully exterior to
your thinking ..
I dunno, I read what you're saying but it's certainly not giving me any
great mojo lovin' toward generating forms of sound that might propel social
change, for the social, political, cultural contexts are utterly pissed at
in your cool disdain as the epochal sage: or, you respond my picking on an
end example because you didn't take the time to think the beginning of the
email.
Social disruption and profound experience is the answer to the question I
posed above when directed back at myself.
What you dismissed in the last post was the bit that required thinking:
which is what the social/political/cultural context requires, forever,
limitlessly, and this is called responsibility.
This email and these posts are a rhythm, and they have little to do with
calculated meter: here (heaR! HEAR!) writing rewires the digital's binary
divisibility -- all other step in, chorus to the left, and refrain:
REPEAT
"writing like a fiend, giving you a taste of what you dish,"
tobias
> Dear Tobias,
>
> I will not respond to the first 3/4 of your post because frankly I don't
> understand it. You are obviously a more erudite individual than I am. I will
> respond to the following however...
>
>
>> .....HOLA! Disco as 'western'? What, Africa just jumped into Germany? That's
>> later--that's post-Detroit AfroGermanic. The EVENT of sound might require
>> not a reduction to disco, but an opening to jazz and disco's isomorphic
>> descent from the experience of transatlantic displacement, the diaspora and
>> memorialized slavery.
>
> If disco is not western, what is it. I think your idea of "isomorphic descent
> from the experience of transatlantic displacement," etc. is perhaps a
> racialist romantic fantasy. Can you honestly deny that Motown is immeasurably
> closer to Mozart than to ANY traditional african music. I am not an
> ethnomusicologist but I know of no traditional african culture that uses
> equal tempered major and minor scales. I know of no traditional african
> culture that uses the "functional harmony" of western classical musics "common
> practice period." And one could continue looking at melodic patterning and
> structure, etc.
>
> I was trying in earlier posts to make a distinction between style and actual
> significant structural change. I think that your "isomorphic descent" issue is
> if anything a question of style. I wonder if you are being influenced by a
> kind of Metaphysics of funk, where the true, the absolute, the good, streams
> from mother africa to shake the booty of the white man.
>
> Furthermore I am not sure why "blackness" should be more associated with disco
> than say "gayness," or cocaine consumption for that matter.
>
>
> well, thats enough for now.
>
> peter
>
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
ICQ: 18766209 | AIM: thesaibot +++
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From: michael trommer <xxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] state of beauty
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>
> wrong... 'harmony' as we know it was not a concept around at the time
> of the music cited in the earlier post (1000 years ago).
hmm...in an earlier post i thought you mentioned that this was impossible to
be certain about this ? i'm curious as to what you're basing this on ?
in any case...some would appear to disagree:
"Bruce Richman argues that both (music and language) originated in
collective repetition of formulaic sequences; and Björn Merker suggests that
synchronous chorusing was a key adaptation in human evolution. "
(re. 'The Origins of Music'
Nils L. Wallin, Björn Merker + Steven Brown (editors)
The MIT Press 2000 )
> This argument is a dead end... other than a vehicle
> to express anti academic sentiments and sweeping generalities...
well...i prefer to think of music as a general social mechanism that exists
largely outside of the sphere of academia ...this coming from someone who
has experienced it (musical academia) directly.
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> all music has stayed
> much the same
from the same source (The Origins of Music
Nils L. Wallin, Björn Merker + Steven Brown):
[This suggests] that music evolved and continues to function as a courtship
display, mostly broadcast by young males to attract females. (Miller)
heeheehee !
(couldn't resist this one)
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guiver benwrote:
> hello all,
>
> er another post: i'm doing a sound installation for my
> art exhibition in january in london. i need to find
> out how formal the copyright thing is if i use, say,
> an autechre track in the sound installation (which
> would obviously be credited).
>
> whats the copyright position? do i need to get some
> kind of special licence? or what? people play records
> in clubs and no-one gets busted-well i never did in a
> multitude of places that i'm pretty certain didn't pay
> $ to the Performing Rights Commision (uk).
>
> anyway: i'd be grateful ofr any help and advice.
>
> best
>
> ben guiver
>
Dear Ben,
when incorporating copyright music into an artwork the issues become much
more complicated than a DJ set in a club.
If you were, say, making a film with an Autechre track as part, or as the
whole soundtrack you would be required to license the track. This would cost
you 100s of pounds (if not thousands).
But a sound installation presents even more problems. It seems to me that
since sound is the major element of the work, that the presentation of
someone else's music as a major part of your work would entail getting their
permission as well as a licence.
Crediting the artist is not enough and in fact could be seen as
appropriating the artists name as well as their work, ie. having a well
respected artist's work associated with yours increases the value and
prestige of your own work. This is why permission must be sought.
But this all depends on how the music is incorporated into the work. Is it
foreground or in the background? is it a sound installation as such, or do
you just mean playing music in the background while people look at
paintings, photographs, etc.?
And Ben (and others) please please trim your posts!
ian
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From: slow sound system <xxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] slow sound system : live sets archive now online
To: Ambient <xxxxxxx@xxxxxxxxx.xxx>,
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SLOW SOUND SYSTEM
lie down and be counted
-----
LIVE SETS ARCHIVE
Our library of live performances is up and running. It's an audio record of
all the artists who've played at slow sound system over the past few years.
Go to http://www.slowsound.net for exclusive mp3 streams from Motion, Adam
Butler / Vert, Sebastien Roux, Recon, Crucial Felix / Timeblind, Paul Hood
and Duff Parka. We'll be adding more over the next few months, so watch this
space. Thanks to our friends at http://www.archive.org for hosting.
------
SMALL PIECES, FRIDAY, RESONANCE 104.4FM
slow sound system presents this week's Small Pieces show on Resonance
104.4FM, midnight-1am. This week, tracks from Akira Rabelais, Function, Es,
Diego Morales, Kathy & Carol, Pierre Schaeffer and more, plus the usual
sub-Mixing It chat from your hosts. Those in London, set your receivers to
104.4fm. Everyone else, go to http://www.resonancefm.com for live streaming
audio.
-----
SLOW SOUND SYSTEM SIX
What's on the decks at the moment:
Function - Particles Collect (cd-r demo)
Aesop Rock - Fast Cars, Danger, Fire and Knives (Def Jux)
Brian Wilson presents - Smile (Nonesuch)
Arthur Russell - World of Echo (Audika)
Radian - Juxtaposition (Thrill Jockey)
Akira Rabelais - Spellewaurenysherde (Samadhi Sound)
-----
Happy listening!
best,
slow sound system
slow sound system
lie down and be counted
xxxx@xxxxxxxxx.xxx
www.slowsound.net
-----
in league w/ [no.signal] | not clickable | sonomu | highpointlowlife |
midrange | frequenzen
-----
-----
new! live sets archive w/motion, recon, crucial felix/timeblind, sebastien
roux, adam butler/vert and more
http://www.slowsound.net
'small pieces', every friday on Resonance 101.4fm, midnight-1am BST
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
frequenzen, fortnightly on resonance 104.4fm
http://www.frequenzen.co.uk
sonomu : sound noise music
http://www.sonomu.net
highpointlowlife : guitars and laptops live happily ever
after
http://www.highpointlowlife.com
[no.signal] : promoters of genius
http://nosignal.slab.org
kultureflash : headlines from london
http://www.kultureflash.net
sprawl club @ charterhouse
http://www.dfuse.com/sprawl
-----
no? reply to this email with 'unsubscribe' in the subject
line.
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From: Igor Medeiros <xxxxxx@xxxxxxx.xxx>
Subject: [microsound] anyone working with sc3 on windows or linux [pc]?
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FILETIME=[76028110:01C4D370]
title says all
thx in advance
igor
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Subject: Re: [microsound] state of beauty
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On Friday, November 26, 2004, at 09:05 AM, michael trommer wrote:
>> wrong... 'harmony' as we know it was not a concept around at the time
>> of the music cited in the earlier post (1000 years ago).
>
> hmm...in an earlier post i thought you mentioned that this was
> impossible to
> be certain about this ? i'm curious as to what you're basing this on ?
the research that exists in the musicology community, ie the people who
have spent the time in the libraries going over the manuscripts with
white gloves...
The early forms of, lets call it 'multi-line music' , are things like
organum. which, so it appears from sources, evolved from parallel
(homophonic) parts to polyphonic (contrapuntal) parts to make a music
that was driven on the principles of independent horizontal lines
(imitation, canonical structures etc....). There were quite stircit
rules of consonance and dissonance in relation to vertical simultaneity
(and the church was involved in massaging those rules), but the music
was not put together by harmonising melodies... and the vertical
structures arising from the counterpoint did not form 'functional'
harmony in the sense that we have come to understand it from the
Baroque onwards...
When you use a word like 'harmony', you need to be precise about what
you are saying, by providing it with some context. Otherwise you might
be creating the wrong impression about how this kind of music was
composed. The initial posts bandied around these words as if the
concepts that underlie them have been stable.... and it is entirely
unclear, why the original poster was asking us to see music as
essentially unchanging, (without any sense of how that was being
measured)
> in any case...some would appear to disagree:
>
> "Bruce Richman argues that both (music and language) originated in
> collective repetition of formulaic sequences; and Björn Merker
> suggests that
> synchronous chorusing was a key adaptation in human evolution. "
sorry, but 'synchronous chorusing' (and I assume we are talking greek
chorus here) is not 'harmony'...
lets not confuse multiple performers (or even multiple lines) with
harmony
>
>> This argument is a dead end... other than a vehicle
>> to express anti academic sentiments and sweeping generalities...
>
> well...i prefer to think of music as a general social mechanism that
> exists
> largely outside of the sphere of academia ...this coming from someone
> who
> has experienced it (musical academia) directly.
what does this statement have to do with anything in this discussion?
thanks for sharing your opinion anyway! I'm sure most academics would
agree with you!
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Subject: Re: [microsound] state of beauty
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On Friday, November 26, 2004, at 09:12 AM, michael trommer wrote:
>> all music has stayed
>> much the same
>
> from the same source (The Origins of Music
> Nils L. Wallin, Björn Merker + Steven Brown):
>
> [This suggests] that music evolved and continues to function as a
> courtship
> display, mostly broadcast by young males to attract females. (Miller)
>
> heeheehee !
>
> (couldn't resist this one)
>
And if you dig back to the context for that quote to see how the
conclusion was drawn,. you find....
"I took random samples of... jazz albums... rock albums... and
classical music works... [M]ales produced ten times as much music as
females, and their musical output peaked in young adulthood, around age
thirty, near the time of peak mating effort... [This suggests] that
music evolved and continues to function as a courtship display, mostly
broadcast by young males to attract females". (Miller)
One would hope the standard of criticism would be a bit higher than
this in the rest of the book... That's one hell of a conclusion to
draw!!! Of course we all know that the canon is representative of
practice, don't we, and that gender politics have no relationship to
the canon... and... i'll stop there..
I think the review by Christopher Coleman is interesting
http://www.amazon.com/exec/obidos/tg/detail/-/0262232065/104-4777952-
0840746?v=glance
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Date: Fri, 26 Nov 2004 10:02:18 +0100
From: Maurizio Giri <xxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] Max MSP Jitter Course in Italy
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Hi all,
this is an announce for a Max MSP Jitter course (in Italian only,
sorry!) which will begin in Rome in a few weeks.
SATURDAY
4 DECEMBER 2004
6:30 PM
Scuola di Musica L'Ottava (http://www.tuttaltramusica.com)
Via Prospero Farinacci 38/40 - Roma (Metro A - Baldo degli Ubaldi)
Introduction to the "Synthesis and Sound Processing" course with
Max/MSP/Jitter
By Maurizio Giri
Electroacustic Concert:
M. Giri: Quaderni 4 (2004)
for electric guitar and electronics
Fabio Zeppetella: Electric Guitar
Maurizio Giri: Electronics
Free Entrance
For info: xxxx@xxxxxxxxxxxxxxx.xxx
http://www.giri.it
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Date: Fri, 26 Nov 2004 11:54:57 +0100
From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] Mousikelab artgallery
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Hello list,
Please see the exposure of Marita Cosma on our artgallery
http://www.mousikelab.it/artgallery/ndex.htm
all the best
marco messina
http://www.mousikelab.com/
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From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist for November 17, 2004
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>
> Dear Artist and Label
>
> Welcome to the radio program Whynot Jazz on Toronto's CKLN FM 88.1.
> Heard Every Wednesday Morning from 7am-11am est, 1pm thru most of
> Europe and noon in the UK. Available around the world at:
>
> www.ckln.fm
>
> Here is the playlist from the last Whynot Jazz Program. Please note
> that radio program, hosted by Mike Hansen, takes an outside
> examination of new improvised and jazz musics. Whynotjazz is one of
> the very few voices for progessive new music heard in Toronto or
> around the world.
>
> Why Not?
> 2004/11/17
>
>
> Artist
> Song Title
> Album Title
> Label
>
> Tim Berne with the
> Copenhagen Ensemble
> Eye Contact
> Open Coma
> Screwgun Records
>
>
>
> Faruq Z Bey
> w/Northwoods Improvisers
> Isolation
> Auzars
> Entropy Stereo
>
>
>
> Michael Occhipinti/Chris Cawthray
> Snowfall
> Winter Music
> Music for Movement
>
>
>
> Myra Melford/Han Bennink
> Frank Goes to
> Eleven Ghosts
> Hatology
>
>
>
> Geordie Haley's Everytime Band
> Iceberg
> The Green Suite and Other Stories
> independent
>
>
>
> Paul Newman
> Open House
> Symmetry Part 5
> Symmetry
> independent
>
>
>
> Nick Fraser/Justin Haynes
> The New Irony
> Are Faking It
> independent
>
>
>
> Lori Freedman
> Sailor Bears
> A Un Moment Donne
> Ambiance Magnestiques
>
>
>
> Receiver
> 401 Past Midnight
> Receiver
> Static Airport Records
>
>
>
> atm+guy
> 8-53
> demo
> independent
>
>
>
> Eric Chenaux
> Shoe Belt Gown
> More remote Than the Puma
> Aural Borealis
>
>
>
> Jazzstory
> Deep Blue Boulevard
> An Eager Leap
> Guildwood Records
>
>
>
> Tim Brady
> Playing Guitar
> Symphony #1 -2nd Movement: Slide
> Playing Guitar: Symphony #1
> Ambience Magnestique
>
>
>
> Nilan Perera
> Song of the Scented
> Harmless Love
> Synaptic Circus
>
>
>
> Mats Gustafsson w/Sonic Youth
> Part 7
> Hidros 3
> Smalltown Supersound
>
>
>
> Goh Lee Kwang
> track 5
> Internal Pleasures
> Herbal Records
>
>
>
> Mika Vanio
> track 8
> In the Land of the Blind One Eyed King
> Touch
>
>
>
> Jeff Gburek
> Energarium 1
> Energarium
> Nurnichtnur
>
>
>
> Geordie
> Haley/Scott Thompson/Nick Fraser
> 3
> @Arraymusic Studio 10/01/04
> independent
>
>
>
> Albert Casais
> Ultraband Trapezoid
> New Forms
> Omnid
>
>
>
> mJane
> (dis)solve
> Players From The Underbelly (2003)
> Pax Recordings
>
>
>
> Blevin Blectum
> Ease
> Maple Magic
> Preamedia
>
>
>
> Yannis Kyriakides/Andy Moor
> Time Flies
> Red v Green
> Unsounds
>
>
>
> Adrian Sherwood
> Paradise of Nada remix
> Never Trust a Hippy
> Real World
>
> Your support is necessary in keeping this voice for the music current.
> Please feel free to forward music to the address below. Thanks again
> for your support. Keep Listening
>
>
> Thanks
> Mike
>
>
> Mike Hansen
> CKLN FM 88.1
> Whynot Jazz Program
> 79 Benson Ave.
> Toronto,On
> Canada
> M6G 2H7
> xxxxxxxxxx@xxxxxxx.xxx
>
>
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From ???@??? Fri Nov 26 18:59:43 2004
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Date: Fri, 26 Nov 2004 19:53:58 +0100
From: cjitter <xxxxxxx@xxxxxxx.xx>
Subject: [microsound] sonikasII_vallecas cultura viva_
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SONIKAS II
Asociación Cultural ¨Jose Mª de Llanos¨
c/ Santa Julia, 11 (Madrid)
Metro:Puente de Vallecas-Nueva Numancia
ENTRADA LIBRE
Viernes 17 Diciembre 04.
20:00h.F-on & Daoun presentan...desde...RVK107.5fm
22:00h.Madrid Laptop Orquesta (CRC/Plataforma-LTW)(Live)
Sabado 18 Diciembre 04.
18:00.Fractal 6 (Klangmaschine)
19:15.Jorge Bule (live)
20:15.Dynamo (Rotor)
21:30.Ok Suitcase (Crónica Electrónica - Portugal)(live)
22:30.Kenneth Kirschner (12k - USA)(live)
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From ???@??? Fri Nov 26 19:30:01 2004
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Date: Fri, 26 Nov 2004 11:29:56 -0800 (PST)
From: Jorge Blank <xxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] SF NOISE PANCAKES!!!!! SUNDAY!!!
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b=QZiQ5XwlNY3R/ogSZrrp3yU0+p3V9MiOGJJg66v5IlkuCOOpQdfrFflQnGLONhZgbN4wMVAfOxbIM5uVDjrY1kWsaW2aUefLwQKQfa15YbTxw5mBtcl4WI8rxo0XloeD3YUjsnD9Cw10wt/lwmY96zxZdrzadfEXAQgCJVgYyE4= ;
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SUNDAY NOVEMBER 28TH
12:00 NOON
NOISE PANCAKES FEATURING
THE BRAN...POS (another plague of medics)
CORE OF THE COAL MAN
SYRINX
TREEHUGGER
OS
$3 SUGGESTED MONATION, though the abject shall be
shined infinitely apon by the blinding light of
admittance, beckoning forth acrooos the fields to come
hither etc
ARTS F GALLERY 110 CAPP BTWN 16TH AND 17TH in the
mission but really close to 16th undermeath and just
behind that red building (though I am color blind -
its red). dial 500 on the keys at the fence and take
the
elevator to the 5th floor.
FREE PANCAKES! bring forkplate
syrup
coffee
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
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From ???@??? Sat Nov 27 02:05:49 2004
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Date: Sat, 27 Nov 2004 15:03:44 +1300
From: xxx@xxxxxxxxx.xx.xx
Subject: [microsound] post-futurist writing?
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--Boundary_(ID_e9DMytsmuKKTywqYR0nt5w)
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thats the authors buzzword, not mine
but its from an interesting article nonetheless...
his process seems akin to a max/msp patch
for narrative/text manipulation?
http://books.guardian.co.uk/departments/generalfiction/story/0,6000,420328,00.html
How to make a modern novel
Over the past few years there has been an upsurge of interest in
experimental electronic music. Allied to the outer fringes of dance
culture, and produced by groups such as Pole, Autechre, Oval, and
Mouse on Mars, this is the music of machines with diseases. Decay,
static, the raw buzz of a frayed connection.
Reading interviews with the people involved, I started to learn a
little about the computer software employed, and the techniques of
creation, and to wonder if the same processes could be used to
manipulate and transform the written word.
snip
The book of Cobralingus contains my first explorations in this
process of metamorphiction, each piece starting with a passage
sampled from another writer. How the text is to be transformed by any
particular filter is entirely up to the individual. The filters can
be used in any order, so that the text undergoes a continuous
mutation, as it passes along the pathway.
etc
http://www.cobralingus.com/
http://www.codexbooks.co.uk/filtergates.html
--
"I call architecture frozen music"
J.W.Goethe
--Boundary_(ID_e9DMytsmuKKTywqYR0nt5w)--
From ???@??? Sat Nov 27 18:00:25 2004
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Date: Sat, 27 Nov 2004 13:00:19 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] post-futurist writing?
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That's Jeff Noon. A fascinating writer. He's written a number of books
including _Vurt_, _Automated Alice_, etc.; he mixes sci-fi with apocalyptic
UK rave culture and in his more experimental work, extensive language play
derived from sound .. he did this CD compilation with David Toop as well
called _Needle in the Groove_.
http://www.amazon.ca/exec/obidos/search-handle-form/702-6427540-1049611
Recommended.
tV
> thats the authors buzzword, not mine
> but its from an interesting article nonetheless...
> his process seems akin to a max/msp patch
> for narrative/text manipulation?
>
> http://books.guardian.co.uk/departments/generalfiction/story/0,6000,420328,00.
> html
>
> How to make a modern novel
>
> Over the past few years there has been an upsurge of interest in
> experimental electronic music. Allied to the outer fringes of dance
> culture, and produced by groups such as Pole, Autechre, Oval, and
> Mouse on Mars, this is the music of machines with diseases. Decay,
> static, the raw buzz of a frayed connection.
>
> Reading interviews with the people involved, I started to learn a
> little about the computer software employed, and the techniques of
> creation, and to wonder if the same processes could be used to
> manipulate and transform the written word.
>
> snip
>
> The book of Cobralingus contains my first explorations in this
> process of metamorphiction, each piece starting with a passage
> sampled from another writer. How the text is to be transformed by any
> particular filter is entirely up to the individual. The filters can
> be used in any order, so that the text undergoes a continuous
> mutation, as it passes along the pathway.
>
> etc
>
> http://www.cobralingus.com/
>
> http://www.codexbooks.co.uk/filtergates.html
>
>
tobias c. van Veen -----------++++
http://www.quadrantcrossing.org --
http://www.thisistheonlyart.com --
McGill Communication + Philosophy
ICQ: 18766209 | AIM: thesaibot +++
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From ???@??? Sun Nov 28 10:32:36 2004
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Date: Sun, 28 Nov 2004 21:32:22 +1100
From: Simon Hampson <xxxxx@xxxxxxxxx.xxx.xx>
Subject: [microsound] Symbiosis playlist - 21/11/04
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Symbiosis
Experimental Sound Textures and Rhythms
[Headphones recommended]
12am - 2am Sunday nights
(1pm - 3pm Sunday afternoon GMT)
Time Zone Converter: http://worldtimeserver.com/
(Show broadcasts in GMT +11)
102.7 FM, Melbourne, Australia
Listen online: http://www.rrr.org.au
Symbiosis
c/o Triple R
PO Box 304
Fitzroy, VIC 3068
Australia
xxxx@xxxxxxxxx.xxx.xx
presented by Simon Hampson
--------------------------------------------
Hi all,
November has been a quiet month for Symbiosis. It has been nice to occupy
the studio for 2 hours each week and create an intimate mix for all of you
out there. Based on your feedback, I think this is exactly what you've all
wanted at this time of year.
This week I will be finishing the month with another dj set. Featuring in
the mix will be the new Stasisfield release by Italian sound artist Maikko.
Coming up in December:
5th: Rhett Wade Ferrell joins me to talk about what he's been up to. Rhett
has recently been involved in "Iranian Gardens, Ancient Wisdom, New Visions"
and will be playing excerpts from his new film, screening at ACMI on 11th
December.
12th: Phoenecia talk about their impending visit to our shores and what we
can expect the first Signal, 18th December @ Corner Hotel
19th: December label feature
26th: A look back at 2004
Coming soon: Sijis Records, Dorobo retrospective, Anthony Guerra live
Thanks for listening,
Simon.
--------------------------------------------
Show Date: 21/11/04
Guests/Features: None
Artist :: Track :: Album :: Label
Steinbruchel :: avier :: Contemporary Culture Convention Compilation III ::
Everest Records
Jane Dowe & Terre Thaemlitz :: TDT :: Institutional Collaborative :: Mille
Plateaux
Murcof :: urano :: Utopia :: Leaf
AGF :: suba+++ :: Head Slash Bauch :: Orthlorng Musork
TBA :: bios :: s/t :: Max Ernst
Minamo :: hum :: Colour And Pattern :: Apestaartje
Hrvatski :: gemini (early) :: Autumnnature :: Autumn Records
Datach'i :: ed's head :: Amunition :: Planet Mu
Crackhaus :: barbchop :: Spells Disaster... :: Mutek_Rec
Team Doyobi :: radial fold :: Choose Your Own Adventure :: Skam
Ultra Red :: sin cargo (amnistia) :: Amnistia :: Antiopic
Mika Vainio :: colour of plants :: In the land of the blind one-eyed is king
:: Touch
Geoff Dugan :: no trespassing :: Rural Psychogeography :: Nexsound
Lawrence English :: - :: Ghost Towns :: Room40
[The User] :: #8 :: Abandon :: Asphodel
Max Lindgren :: i hope you'll :: Sender/Re :: Robotrint
Pita :: #3 :: Get Out :: Mego
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From ???@??? Mon Nov 29 13:40:17 2004
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Date: Mon, 29 Nov 2004 14:36:59 +0100
From: th_ost <xxxxxx@xxx.xxx>
Subject: [microsound] test (ignorandum esse)
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sorry, but test....
°°°
th_ost: tomoroh hidari_oliver stummer
acronymic symbiosis of alter & ego
http://www.tomoroh.com/
http://www.stiege44.com/
http://www.skug.at/
>> necro'phon'i'con (from Greek: Necros- dead, phon- sound, icon -picture, representation; the book of dead sounds, or the image of dead sounds) a standard reference work for the acoustic oddities of pulp-occultist lore. made mostly from fragments of killed sounds, a franken- meets wittgenstein-ian creation playing duelling banjos with all dsp available but no banjos....
°°°°°
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Date: Mon, 29 Nov 2004 11:45:44 -0500
From: david golightly <xxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] state of beauty
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FILETIME=[E934D880:01C4D632]
fly-on-the-wall, myself, but this has been a fascinating discussion and I'd
like to add a few musings of my own...
I can understand both sides of this debate, and I think they both have
something to them -- in effect this is a reworking of the "style vs.
structure" debate you inevitably get subjected to when you hang around
music-creator-composer types - and I think just as there are many people on
this list who gravitate toward more beat-driven "dj" music (as it were), as
well as many (like myself) who find themselves in a more avant-garde vein
and veer away from "danceability" (not discounting of course all who go
between), people come from different places in their drive to create music.
So perhaps in the "big picture" it's about separating the biological from
the cultural, i.e. what are people predisposed to "like" in sound
(biologically), and what sounds are they likely to make (as music), and for
what purpose (culturally)? and there isn't a clean line between the two.
and a case can be made about diatonality, or pentatonality, and perhaps a
four-count as well, and fundamental, rudamentary harmonic relationships (!=
western harmonic progression) such as the p-4th and pythagorean identities
which occur in some form on various scales throughout all cultures as a
result of biological fact about humans (whose ears evolved to listen to
voice, not music) and also the physics of sound being as they are - that for
all the babbling brooks and rainstorms and natural sources of noisemakers in
nature, the basic instruments people pick up and make generally involve
resonance of some kind, whether a string or a tube or a drum. and
universality is very fascinating because it reminds us of what we all have
in common etc. etc.
and yet for all of this universality it gets real messy when looked at from
any perspective useful for creation of music. because people aren't blank
slates. because on the scale of a "musical macro-event" (i.e. piece or
song) you're not starting from scratch,
and for its digital connotations "re-mix" really isn't a post-digital
concept - throughout history whenever cultures bumped into each other there
were re-mixes: little snippets of Arab tunes that were heard and Europe-ized
into minuets. folk songs heard and turned into symphonies, or adopted and
modified to fit another culture altogether, or symphonic tunes that had
words put to them and turned into pop songs. tunes got recycled and used in
various forms for various occasions and arrangements (the l'homme arme'
mass, for instance), it's just that with this proliferation of technology
things move around faster and faster, and things get messier as they get
re-cycled before they're even really digested/assimilated.
perhaps it is here where the ability to distinguish between styles becomes
as irrelevant as knowing that single-period waveform I granulated was taken
from britney spears and not from mozart or shakuhachi flute, because there
is no intellectual copyright on style. Can you quantify your influences?
How many fingers would it take to count them? Is that little 1-bar drum
African, Malaysian, Peruvian? How can you tell (and what does cultural
origin matter) once you've taken it out of context?
sorry to subject you all to such a poorly organized post, I'll try and keep
it down next time 'round.
thx
david
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Date: Mon, 29 Nov 2004 20:12:09 +0100 (CET)
From: casademunt alexandre <xxxxxxxxx_xxxx@xxxxx.xx>
Subject: [microsound] ANGSTPROD UPDATE: ANGSTPROD EPK01 video clip Samforce -
Artificial Sphincter(xvid)
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New release on Angstprod netlabel:
ANGSTPROD epk01 electronica video clip Samforce-
Artificial sphincter is available in xvid and ogg
format (38 mega), funny electronica video clip 3min30
made by Vanpet.
direct link: http://www.angstprod.org/releases.php
Downloading is good for U
Have fun !!
http://www.angstprod.org
|*\/*|
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Date: Mon, 29 Nov 2004 12:48:44 -0800
From: Jorge Bachmann <xxxxxxx@xxxxxxx.xxx>
Subject: [microsound] [OT][AD] San Francisco performance
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Takami & Toumei MoBu [Modern Butoh] Dance Group
presents
SHIZUKU - DROP
Sunday December 5, 2004, 2 pm
@ Alamo Square Park [Hayes & Steiner]
Free to the Public
Information: (415) 655-3914
http://www.mobudance.com
Shizuku - Drop is a new work for Takami & Toumei MoBu Dance Group for
the season. Shizuku means "drop" in Japanese. This experimental new
work will collaborate with Japanese glass artist Kana Tanaka, live
sound by Jorge Bachman and costume design by Kristine Pierce.
Drop can represent any aspect of life, including the drop of a tear,
blood, rain, memory, soul, and so on. The moment it happens, a
thrilling tension evokes an emotional journey. This work will have
three steps of development. This outdoor performance in Alamo Square
will be the first development of this innovative process followed by
performances at Jon Sims Center for the Arts in the spring (March
26-26 and April 1-2, 2005), and in a gallery space in the fall of
2005.In this outdoor performance we will be working with different
elements of dance, sound, space, fabric and glass formations to
discover the essence of Shizuku.
Toumei MoBu Dancers: Christopher Foster, Elizabeth Zarek, Monique
Tajiri Goldwater and Takami.
justino
aka jorge bachmann sculpture-photography-sound
P.O.Box 15953
San Francisco, CA 94115-0953
M-415-706-9629
W-415-750-3517 http://www.anihilo.com
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From ???@??? Mon Nov 29 23:44:53 2004
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Date: Mon, 29 Nov 2004 15:46:58 -0800
From: Glenn Bach <xxxxx@xxxxx.xxx>
Subject: [microsound] [So Cal] Southern California Acoustic Ecology and Field
Recordings
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Hello microsound, (hopefully this is not too off-topic),
For those in the Southern California region, I'm hosting a meeting to
discuss two items:
1) the possible formation of a So Cal chapter of the American Society of
Acoustic Ecology (ASAE) (http://www.acousticecology.org/asae);
2) the formation of a performing ensemble of composers and musicians who
use field recordings in their work.
When and Where:
Saturday, December 4, 2004
12:00 noon
Portfolio Coffeehouse
2300 East 4th Street
(at Junipero) Long Beach, California 90814
http://www.portcafe.com/map.htm
I'll be wearing a yellow sweatshirt and buzzed scalp. Reply off-list if
you are interested in talking about acoustic ecology issues (noise
abatement, soundscape preservation, soundwalks, etc.) and/or recording
and performing field recordings. Hope to see some of you there.
Best,
Glenn Bach
xxxxx@xxxxx.xxx
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http://www.meta.am/audio/striechtelen.mp3
//m
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Date: Tue, 30 Nov 2004 08:09:45 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] need cheap multimedia speakers
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I'm working on a sound installation and need a pair of powered
multimedia speakers somewhere in the $10 - 20 USD range...any
recommendations?
contact me offline
xxx@xxxxxxxxxxxxx.xxx
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From ???@??? Tue Nov 30 16:39:14 2004
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absolutely stunning graphics. wow. how were these done? a 3D programme,
i assume? do have prints at all?
reminds me of the ganzt_graff video, which is one of my absolute
favourites. but there's more subtleties in these graphics... almost like
the more recent me company stuff... wire frame with a three colour
palette and tons of translucence...
....overlapping glitches and vector landscapes, like tron gone all wrong.
all the best,
graham
check out: http://www.meta.am/archives/graphic/
meta wrote:
> http://www.meta.am/audio/striechtelen.mp3
>
> //m
> http://meta.am/
>
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I'm new to this type of music and would like some direction on where to start
listening. Any info on labels and artist sites would be very much
appreciated. Perhaps there is one good site that covers the genre well?
John
http://cohortrecords.0catch.com
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From: greg g <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] a little help
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FILETIME=[E7040830:01C4D716]
DRUM KOMPUTER!!!
best music ever
>From: xxxxxxxxx@xxx.xxx
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: xxxxxxxxxx@xxxxxxxxx.xxx
>Subject: [microsound] a little help
>Date: Tue, 30 Nov 2004 12:10:36 EST
>
>I'm new to this type of music and would like some direction on where to
>start
>listening. Any info on labels and artist sites would be very much
>appreciated. Perhaps there is one good site that covers the genre well?
>
>John
>http://cohortrecords.0catch.com
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From: =?iso-8859-1?Q?Bj=F6rn_Eriksson?= <xxxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] a little help
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You can always make a visit to our TWiki site at
http://microsound.nexthop.net
There you find at least two links to some listening resources.
MicrosoundListen listening resources
MicrosoundDirect *.mp3 hotline
Please add more if you find things that you think fit there!
Yours,
Björn Eriksson
----- Original Message -----
From: <xxxxxxxxx@xxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Tuesday, November 30, 2004 6:10 PM
Subject: [microsound] a little help
> I'm new to this type of music and would like some direction on where to
> start
> listening. Any info on labels and artist sites would be very much
> appreciated. Perhaps there is one good site that covers the genre well?
>
> John
> http://cohortrecords.0catch.com
>
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From: ". m u r m e r ." <xxxxxx@xxxxxx.xxx>
Subject: [microsound] [playlist] framework - 26.11.04
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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: 10.12.04
~ 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
another standard edition framework this week, featuring another dip into our ever growing pile - this time several tracks from the paris-based kokeko organisation, some more new material from john hudak (this time playing live with jason kahn), and a piece composed from sounds recorded inside a mobile phone recycling center (no, i didn't know they existed either). we also finally had a listen to an old, old favorite that's been in the pile for ages, in the form of g*park's 1995 album geopod, which was intertwined for the last 20 minutes or so with a mix of several new field recordings by another old favorite, jeph jerman.
on that note, i can also now announce that the next edition of framework:focus, on the 19th of december, will feature jeph and his huge body of work over the years, from the days of hands to through to recent sound and installation works, and his own exclusive insights and commentary. it should prove to be a great addition to the series!
lastly, it's time once again to make my semi-regular plea: i am once again nearly out of intro recordings - in fact, if it weren't for one industrious listener (thanks keith!) who's sent me no less than five intros in the recent past, i would have run out ages ago. so, if you've been waiting for your moment or putting off the inevitable, now's the time - please see the guidelines below the list, and please record a framework introduction! i will use every eligible one i receive!
and 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
--------------------------------------------------------------------------------
26.11.04
this edition will be rebroadcast this wednesday, 01.12.04, at 11:00am gmt
(artist / title / album / label)
keith de mendonca / framework intro
a heavily populated, footsteppy and echoey intro recorded in the great court
http://www.dismbody.demon.co.uk/home.html
john hudak/jason kahn / - / for the time being / cut
a minimal, heavy and slow collection of tones and cracks recorded live as part of kahn's installation, winter
http://www.cut.fm, http://www.johnhudak.net, http://jasonkahn.dfekt.org
o-pi-o / maya mountain / kokekomp (compilation) / kokeko
deep rumbling acoustic treatments, sounds like a reverberating pipeline
http://www.kokeko.free.fr
adam wimbush / beyond economical repair / - / -
a listener who works in a mobile phone recycling center (!), adam composed this piece from his daily sound environment
xxxxxx@xxxxx.xx.xx
s.s.s. (sensors_sonics_sights) / le loup / kokekomp (compilation) / kokeko
recorded live in september 2003, a trio creating visuals and sound using live movement sensors
http://www.xmira.com/sss/, http://www.kokeko.free.fr
kouhei matsunaga / you_was_born_with_samba_from _mama_at_drain_pipe / kokekomp (compilation) / kokeko
geese or violins? strange unidentifiable manipulations create unnerving soundscapes
http://www.ffss.info/FlyingSwimming/kouhei/kouhei_matsunaga_site.html, http://www.kokeko.free.fr
g*park / one / geopod / zabriskie point
stunning organic constructions of found sound, objects and field recordings - rhythmic and grinding
jeph jerman / water (carp)
cornville bridge
oak creek pipe / more sound / -
this fine new collection of recordings provided us with the material for an extended mix of contrasting sounds...
http://www.anomalousrecords.com/jerman
g*park / three / geopod / zabriskie point
....which was punctuated by this buzzing phasing composition...
jeph jerman / flies
bees
rain amp / more sound / -
....before returning us, still buzzing, to the hands of hands to
http://www.anomalousrecords.com/jerman
g*park / six / geopod / zabriskie point
and we finished with what we can only assume from the notes are "the cows and their bells of pragel"
--------------------------------------------------------------------------------
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
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Date: Wed, 01 Dec 2004 09:05:35 +1100
From: Noel Peters <xxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] state of beauty
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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I think Curtis Roads covers this subject well in Chapter 8 of his text
Microsounds
-----Original Message-----
From: david golightly [mailto:xxxxxxxx@xxxxxxx.xxx]
Sent: Tuesday, 30 November 2004 3:46 AM
To: xxxxxxxxxx@xxxxxxxxx.xxx
Subject: Re: [microsound] state of beauty
fly-on-the-wall, myself, but this has been a fascinating discussion and
I'd
like to add a few musings of my own...
I can understand both sides of this debate, and I think they both have
something to them -- in effect this is a reworking of the "style vs.
structure" debate you inevitably get subjected to when you hang around
music-creator-composer types - and I think just as there are many people
on
this list who gravitate toward more beat-driven "dj" music (as it were),
as
well as many (like myself) who find themselves in a more avant-garde
vein
and veer away from "danceability" (not discounting of course all who go
between), people come from different places in their drive to create
music.
So perhaps in the "big picture" it's about separating the biological
from
the cultural, i.e. what are people predisposed to "like" in sound
(biologically), and what sounds are they likely to make (as music), and
for
what purpose (culturally)? and there isn't a clean line between the
two.
and a case can be made about diatonality, or pentatonality, and perhaps
a
four-count as well, and fundamental, rudamentary harmonic relationships
(!=
western harmonic progression) such as the p-4th and pythagorean
identities
which occur in some form on various scales throughout all cultures as a
result of biological fact about humans (whose ears evolved to listen to
voice, not music) and also the physics of sound being as they are - that
for
all the babbling brooks and rainstorms and natural sources of
noisemakers in
nature, the basic instruments people pick up and make generally involve
resonance of some kind, whether a string or a tube or a drum. and
universality is very fascinating because it reminds us of what we all
have
in common etc. etc.
and yet for all of this universality it gets real messy when looked at
from
any perspective useful for creation of music. because people aren't
blank
slates. because on the scale of a "musical macro-event" (i.e. piece or
song) you're not starting from scratch,
and for its digital connotations "re-mix" really isn't a post-digital
concept - throughout history whenever cultures bumped into each other
there
were re-mixes: little snippets of Arab tunes that were heard and
Europe-ized
into minuets. folk songs heard and turned into symphonies, or adopted
and
modified to fit another culture altogether, or symphonic tunes that had
words put to them and turned into pop songs. tunes got recycled and
used in
various forms for various occasions and arrangements (the l'homme arme'
mass, for instance), it's just that with this proliferation of
technology
things move around faster and faster, and things get messier as they get
re-cycled before they're even really digested/assimilated.
perhaps it is here where the ability to distinguish between styles
becomes
as irrelevant as knowing that single-period waveform I granulated was
taken
from britney spears and not from mozart or shakuhachi flute, because
there
is no intellectual copyright on style. Can you quantify your
influences?
How many fingers would it take to count them? Is that little 1-bar drum
African, Malaysian, Peruvian? How can you tell (and what does cultural
origin matter) once you've taken it out of context?
sorry to subject you all to such a poorly organized post, I'll try and
keep
it down next time 'round.
thx
david
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From ???@??? Tue Nov 30 23:06:14 2004
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Date: Wed, 01 Dec 2004 00:06:19 +0100
From: uzekt <xxxxx@xxxxxxx.xx>
Subject: [microsound] MINIMAL AND ENVIRONMENTAL PARTY
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2/12/04
MINIMAL AND ENVIRONMENTAL PARTY
JAY dj set
STABIL audiovisual performance
MOLAIR [ tez + bern ] live
PITCH - VISUALIVE video experiment
9h > 1h30
@ l'alimentation . condition publique . roubaix
www.katalyse.org
www.molair.net
www.pitch-visualive.org
www.bern-online.net
--Boundary_(ID_YgLapbyKJtHXzMSNCbWnfQ)--
From ???@??? Wed Dec 1 00:23:00 2004
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Date: Tue, 30 Nov 2004 16:22:48 -0800
From: Scott Carver <xxxxxxx@x.xxxxxxxxxx.xxx>
Subject: [microsound] [ot] rfid anyone?
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This is probably a long shot, but has anyone used passive RFID systems
before, especially in an art installation type setting? I'd love to ask
some questions off-list.
- Scott Carver
email: xxxxxxx@x.xxxxxxxxxx.xxx
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From ???@??? Wed Dec 1 01:49:06 2004
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Date: Tue, 30 Nov 2004 20:49:00 -0500
From: nick knouf <xxxxxx@xxxxx.xxx>
Subject: Re: [microsound] [ot] rfid anyone?
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Hi Scott,
I haven't done anything with RFID, but I'd be interested in any
responses you get...
nick
On Tue, 30 Nov 2004 16:22:48 -0800, Scott Carver
<xxxxxxx@x.xxxxxxxxxx.xxx> wrote:
> This is probably a long shot, but has anyone used passive RFID systems
> before, especially in an art installation type setting? I'd love to ask
> some questions off-list.
>
> - Scott Carver
> email: xxxxxxx@x.xxxxxxxxxx.xxx
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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From ???@??? Wed Dec 1 03:19:41 2004
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Date: Tue, 30 Nov 2004 22:19:59 -0500
From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
Subject: Re: [microsound] [ot] rfid anyone?
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me too.
On Nov 30, 2004, at 8:49 PM, nick knouf wrote:
> Hi Scott,
>
> I haven't done anything with RFID, but I'd be interested in any
> responses you get...
>
> nick
>
>
> On Tue, 30 Nov 2004 16:22:48 -0800, Scott Carver
> <xxxxxxx@x.xxxxxxxxxx.xxx> wrote:
>> This is probably a long shot, but has anyone used passive RFID systems
>> before, especially in an art installation type setting? I'd love to
>> ask
>> some questions off-list.
>>
>> - Scott Carver
>> email: xxxxxxx@x.xxxxxxxxxx.xxx
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>>
>
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>
mandra
realtime experimentalist / guitarist for skywheel, Telesma
creator of "the manDrum"
....jamming the mainstream in the zips
http://defDumbAndBass.com
http://telesma23.com
http://skywheel.com
Come to my very happening *happening*
the defDumbAndBass fREAKoUT!
(formerly SKYWHEEL SUNDAY SOLiD)
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"
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From ???@??? Wed Dec 1 03:37:00 2004
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Date: Tue, 30 Nov 2004 22:52:22 -0500
From: chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: [microsound] calling musicians in NYC (or just passing through)
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i'm writing in a multiple capacity here, looking for interesting
musicians to be involved in live shows in NYC.
1. as a musician myself, i'm seeking other artists to play with in
the area.
2. i'm also seeking small venues or nights in NYC that host live
experimental/electronic/improvised/etc. music.
3. i DJ at a monthly night in williamsburg and we're always
looking for interesting people in town or from out of town to play.
if you are a musician, promoter, booker, or any other kind of
person who's involved in live interesting, unconventional music
in the areas of experimental, electronic, lo-fi, avant-folk, noise,
post-rock, or something that hasn't been given a name yet,
please get in touch.
thanks in advance.
d.
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